SEMICENTENNIAL  PUBLICATIONS 

OF  THE 

UNIVERSITY  OF  CALIFORNIA 


1868-1918 


UNIVERSITY    OF    CALIFORNIA     PUBLICATIONS 


MODERN    PHILOLOGY 


VOLUME    6 


CHARLES  ^\.  GAYLEY 

H.  K.  SCHILEIXG 
RUDOLPH  SGHEVn.L 

EDITORS 


UNIVERSITY  OF  CALIFORNIA 

BERKELEY 

1918 


THE  DRAMATIC  ART  OF 
LOPE  DE  VEGA 


TOGETHER  WITH 


LA  DAMA   BOBA 


EDITED,  FROM  AN  AUTOGRAPH 

IN   THE    BIBLIOTECA   NACIONAL 

AT  MADRID,   WITH   NOTES 


BY 

RUDOLPH    SCHEVn.L 


UNIVERSITY  OI"  CAI.IKORMA    I'RK: 
BERKELEY 


TO 

JUAX  C.  CEBIUAN 

SOX      OF      SPAIN",      CITIZEX      OF     THK      UXITFI)      STATFS 

HOXOUKD     AXl)     LOVKI)     IX     I'.OTH     COUXTRIFS     FOR     HI^ 

SIX(iLK-MIXl)Kl)     l)K^■OTIOX     TO     FVKRV     XOBFJ-:     ('AFSF 


A  «><>    ( 


3 


PREFACE 

The  large  amount  wliich  Lope  de  Yega  wrote  for  the  stage 
manifestl.v  demands  a  voluminous  study  of  his  art  to  do  him  fidl 
justice.  The  limited  essay  here  presented  may  consequently  l)e 
considered  inadequate,  and  many  points  which  could  or  ouglit 
to  be  included  will  be  missed.  Of  that  I  am  aware.  But  within 
the  confined  scope  of  this  attempt  my  object  became  twofold  : 
first,  to  indicate  by  brief  hints  along  what  lines  a  more  detailed 
investigation  could  be  instituted  by  someone  better  fitted  than 
myself,  and  second,  to  have,  at  a  future  date,  some  justification 
for  continuing  an  examination  of  the  many  items  of  interest 
which  Lope  constantly  suggests.  I  have  refrained  from  compai'ing 
the  great  Spaniard  with  other  master  writers  for  the  theatre,  for 
the  obvious  reason  that  it  seemed  to  me  more  important  to  out- 
line first  an  objective  presentation  of  the  material  derived  from 
Lope  himself.  Comparative  studies  in  literature  are  futile  and 
unprofitable  to  the  reader  who  is  not  well  acquainted  witli  all  the 
elements  compared.  Moreover,  comparisons  frequently'  lead  to 
unjust  conclusions  whenever  they  attempt  to  prove  that  one 
writer  is  greater  than  another  instead  of  analyzing  in  an  unbiased 
manner  how  their  delineation  and  interpretation  of  life  are  re- 
lated. The  offhand  assertion  is  frequently  to  be  met  with  that 
Moliere  and  Shakespeare  are  much  greater  than  Lope  de  Vega, 
and  yet  the  writers  of  such  statements  too  often  repeat  merely  a 
traditional  catch  phrase;  they  do  not  prepare  the  ground  by  add- 
ing a  just  and  indispensable  picture  of  the  economic  and  social 
background  which  accounts  for  much  that  is  unique  in  Lope  de 
Vega's  art.  The  most  satisfactory  studies  of  Aristophanes, 
Shakespeare,  Moliere  and  other  master  playwrights  are  those 
based  on  direct  objective  analysis  of  their  productions,  and  the 
principles  or  formula  of  their  art.  With  these  before  us,  a  com- 
parison may  profitably  be  instituted  which  will  further  illuminate 
their  methods  of  composition  or  reveal  the  extent  to  wliicli  ihry 
held  a  mirror  up  to  the  form  of  society  in  which  tlicy  moved. 


A  ooin|)ar;ilivc  study  may  also  Ix-  at t.'inpted,  which  relates 
Jjopc  to  liis  pivdcccssofs  ill  th.'  national  theatre  of  Spain.  Ilis 
iiuU'btediiess  in  this  eoniiect  ion  is  not  excessive,  but  a  careful 
comparison  makes  e\  ideiit  the  eontinnity  of  a  luimber  of  features 
in  Spanish  dramatic  art.  f.-atures  related,  iiist  to  the  technical 
side  of  comiiositicai.  and  second,  to  ilie  aiiiiile  scope  whicli  char- 
acterizes tile  popular  <lrainatic  toiinnla  of  the  sixteenth  and 
seventeenth  ceiitni'ies.  I  n-\'rv  especiall\-  to  the  break  with  classic 
tradition  and  jirecept .  ami  the  i^iadiial  disappeai'ance  of  th<'  prin- 
ciple of  limitation  in  subject  mntler  lit  for  the  sta<,n'.  The  final 
pro^rannne  of  the  drama  of  the  (Joldeii  Age  included  every  con- 
ceivable plot  taken  from  histor.w  fiction,  legend,  mythology  and 
the  like.  Lope  is  a  lineal  descendant  of  a  more  primitive  and  a 
crudi'i'  art  and  nolliing  is  more  jistoiiishing  than  the  manj'  inno- 
vations for  which  he  alone  is  i-es|)onsil)le.  But  in  spite  of  all  the 
features  in  which  he  iiia>'  be  compared  with  earlier  playwrights  to 
his  decided  advantage,  one  stands  out  preeminently,  his  undeni- 
able superioi'ity  in  i)oetic  endowment.  Tlie  key-note  to  his  crea- 
tion is  freshness  and  constant  inspii'ation ;  the  prominent  trait 
of  the  majority  of  his  pi-ecursors  is  their  lack  of  originalit,y :  they 
could  not  lose  sight  of  something  to  imitate,  they  seem  too  often 
forced  to  toil  and  keep  \igil  in  the  liope  that  some  divine  afflatus 
may  raise  their  ett'orts  above  the  common  level.  In  short,  men 
like  Bermudez,  Argensola,  Juan  de  la  Cueva,  Virues,  Miguel 
Sanchez  and  Cervantes  seem  to  be  feeling  their  way,  attempting 
forms  of  dramatic  expression  unrelated  to  any  well-conceived 
artistic  formula.  Their  theatrical  gifts,  though  very  pronounced 
in  isolated  details,  never  crystalized  into  any  well-rounded  con- 
ception :  they  wei'e  generally  overwhelmed  by  a  lack  of  restraint 
and  nullified  by  disregard  of  l)alance  and  form.  It  would  be"^ 
futile  here  to  point  out  tiie  noteworthy  exceptions  among  Lope's 
predecessors,  those  playwrights  who  revealed  in  an  occasional 
trait  the  evidence  of  genuine  artistic  gifts.  A  study  of  their 
productions  could  pres(Mit  with  much  profit  not  only  the  growth 
of  numerous  metrical  forms  and  technical  tiexibility  of  the  drama 
of  the  Renascence,  but  the  oi-igin  of  various  elements  which 
portray  the  outwai-d  aspects  of  Spanish  life.  In  these  two  fea- 
tures,   poetic    charm    and    siiarkling    popular    dialogue.    Lope's 


woffliicst  ancestors  were  (Jil  \'icciit('  .•iiid  Lope  d,.  Kucda.  No 
comparative  study  would  l)c  c()iiii)l('lc  which  dors  not  cxliaustively 
deal  with  these  two  pi-oitiineut  names.  'I'hc  main  dirt'ci-ciice  be- 
tween tlie  tcdtro  <niti<jii<>  of  the  sixti'enth  crntni-y  and  the  woi-k  of 
Lo])e  may  thus  be  said  to  be  this,  thai  while  the  i'oi-mci'  is  char- 
acterized by  a  constant  striving  toward  more  adecpiate  dramatic 
expression,  Lope's  work  represents  fullest  aehie\-emenl.  'I'liere 
is  bai'dly  a  featui-e  in  the  drauui  of  his  contemporaries  or  suc- 
cessors, which  cannot  be  found  in  emhi-yo.  at  least,  in  his  vast 
formula. 

In  giving  excerpts  from  Lope's  i)lays,  1  strove  to  select  pass- 
ages which  would  best  illustrate  my  argument,  even  if  taken 
from  comedias  not  unknown  to  readers  of  Spanish  lit<'rature.  The 
majority  of  citations  were  taken  fi'om  the  accessible  collection  in 
the  Biblioteca  de  Autores  Es})arioles,  unsatisfactory  as  tliis  is, 
because  the  reader  who  ajiiiroaches  Lo])e  as  a  new  field  of  study 
could  more  easily  obtain  and  read  thos<'  pla\s.  1  have  made  Jio 
effoi't  to  be  consistent  in  the  matter  of  accents  on  vowels,  because 
my  quotations,  taken  from  a  vai'iety  of  texts  printed  in  many 
dilferent  epochs,  could  not  be  standardized. 

]\Iy  thanks  ai'e  due  to  Dr.  Hills  of  IIk^  Ilis[)anic  Society  of 
America,  who  with  unfailing  courtesy  sent  me  ti-ansctriptions  of 
items  to  be  found  in  the  library  which  he  directs;  to  j\Ir.  F.  E. 
Spencer  and  Miss  Patricia  Moorshead,  formei-  students  of  the 
University  of  California,  for  collating  ])lays  and  {passages  for  me 
in  the  Biblioteca  Nacional  at  Madi'id,  and  to  m\'  colleagues,  Pro- 
fessor Herbert  Cory,  Professor  Jaen,  and  Air.  Kngene  Joi-altMuon 
for  their  valuable  assistance  in  reading  pi-oofs. 

Berkeley,  Cai.ifokxia,  .laiiuarv,   llMs. 


CONTENTS 

I.  Tlie  dramatic  art  of  Lope  de  Vega 

Introduction 1 

Lope's   dramatic   art:    the    formula   of   art   versus   the   formula   of 

human    life    10 

Inheritance  and  tradition  manifest  in  the  characters  ;  17 

Inheritance  and  tradition  manifest  in  specific  traits  of  Lope's  plots  2(i 
Artificial    devices    in    the    technique:    balance,    the    duplication    of 

groups  or  combinations  of  personages  (5i 

Poetic  language  and  thought:   Concci)tismo  and  CuUo  CaGT- 

Lope's  learning:     the  influence  of  the  classics  67_ 

Lope's    acquaintance    with    contemporary    literature    5j_- 

Some  technical  features  of  Lope's  art:    exposition,  plots,  recurring 

themes   74 

Dialogue,  monologue  and  narrative  80 

Characters   and   customs   ..— .., _ 101 

Two  examples  of  Lope's  Comcdia:  a  trage3y''and  a  comedy  113- 

IL     La  Dama   Boha .^TT::::^^ ^17 

The    autograph    124 

Variants  of  the  first  edition  of  Madrid,  1617  129 

La    Versificacion    141 

Acto  I 143 

Acto  II    1 79 

Acto  III     212 

Notes , _... 251 

Index    339 


BIBLIOGRAPHY 

Lope  Felix  de  Vega  C.\rpio. 

Obras,  edition   of  the  Royal   Spanish  Academy,  Madrid,  1890-1914,   15 
vols.;    vol.   I,  with   a   biography   by   la  Barrera,  and   vols.   II-XIII, 
with  prefaces  by  Menendez  y  Pelayo. 
Restori,  a. 

Critical  reviews  of  the  preceding  edition   in   Zcitschrift  fiir  rnmanisehc 
Philologic,  1898-1906. 
Rennert,  H.  a. 

The  Life  of  Lope  de  Vega,  Philadelphia,  1904. 
Eennert,  H.  a. 

Bibliography   of  the  Dramatic  Works   of   Lope   de  Vega  Carpio,  based 
upon  the  catalogue  of  John  Rutter  Chorley,  in  Bcvue  hiftpanique,  1915. 


Rennert,  H.  a. 

The  Staging  ot"  Lojh'   dc   Vega's  Coiiiodias,  in   lUvuc   hispaniquc,   190G. 
Rennekt,  H.  a. 

The  Spanish  Stayo  in  the  Time  of  Lope  tie  Vega,  New  York,  1909. 
Morki.Fatk).  a. 

La  "Coniedia"  espagnole  du  XVII  sieele,  Paris,  1885. 
MOKEL-F.VTIO,   A. 

Les  origiues  de  Loju-  de  \'ega,  in  littUithi  IiisjKiiiujuc,  1905. 
Chorley,  J.  E. 

Athenaeum,  Xovonihcr,   185)5;    and   Fruscr's  Magazine,   vols.   59  and   (iO, 
1859. 
Okmsbv,  J. 

Loj^e  de  Vega,  in  Quarterly  Eevieiv,  1894. 
Fitzmaukice-Kelly,  J. 

Lope   de  Vega  and  tlie   Spanish   Drama.      (Taylorian  Lectnre)    London, 
1902. 
Fitzmaurice-Kelly,  J. 

Chapters  ou  Spanisli  Literature,    (Chap.   VII),  London,   1908. 
BoNiLLA  y  San  MartIx,  A. 

Introduction   to   his    edition    of    Pcribdnez   y   el   Comendador   de    Ocaila, 
Madrid,  191(5. 

BUCHAXAX,  M.   A., 

At  a   Spanish   Theatre   in   the    Seventeenth   Century,   Tltc    University   of 
Toronto  Monthly,  1908. 
VON  SCHACK,  A.  F. 

Geschichte  der  dramatisehen  Literatur  und  Kunst  in  Spanien,  2nd  edit, 
enlarged,  Frankfurt  a.  M.,  1854.     This  work  has  been  translated  into 
Spanish  by  E.  de  Mier,  Madrid,  1885-1887. 
SciiAEFFER,  A.     Geschichte  des  spanischen   Nationaldramas,  Leipzig,   1890. 
Farinelli,  a. 

Grillparzer  und  Lope  de  Vega,  Berlin,  1894. 
Klein,  J.  L. 

Geschichte  des  Dramas;    Das  spanische  Drama,  vols.  VIII-XI,  Leipzig, 
1871-1875.     This  work  is  unfortunately  written   in  an   involved  and 
repellent  style. 
For  full  lists  of  titles  cf.: 
Fitzmaurice-Kelly^,  J. 

Historia  de  la  literatura  espaiiola,  Madrid,  1916,  pp.  358,  436. 
Cejador  y  Frauca,  Julio. 

Historia  de   la   lengua    y   liteiatura    espanola,    vol.   IV,   Madrid,    1916, 
pp.  69ff. 


THE  DRAMATIC  ART   OF  LOPE  BE  VEGA 
INTRODUCTION 

The  opinion  is  widespread  that  it  is  impossible  for  any  human 
being  to  reach  a  fair  and  comprehensive  estimate  of  the  dramatic 
art  of  Lope  de  Vega  on  account  of  the  unlimited  number  of 
comedian  which  he  has  produced.  In  other  words,  one  of  liis 
chief  claims  to  enduring  fame,  his  superhuman  productivity, 
turns  out  to  be  the  main  obstacle  to  any  satisfactory  study  of 
his  plays.  He  frightens  students  away.  Nevertheless,  this  alleged 
reason  for  neglecting  Lope  and  his  art  is,  I  am  now  convinced, 
merely  one  of  several  minor  ones,  which  hardly  weigh  in  the 
balance  against  a  single  overwhelming  cause :  the  incredibly 
unattractive  state  of  his  printed  works.  And  this  fact  touches 
human  nature  in  its  most  vulnerable  spot.  After  many  years 
of  fruitless  effort  to  interest  my  students  in  Lope  in  any  per- 
manent or  productive  sense,  I  hesitate  to  send  them  any  longer  to 
our  libraries  to  consult  the  available  editions  of  his  plays.  Is 
this  not  an  inexplicable  fault  in  the  record  of  Spanish  studies 
the  world  over?  Can  we  point  to  the  works  of  any  truly  gr(^at 
playwright  of  other  nations,  and  affirm  that  the  same  is  true? 
Are  not  scores  of  editions  of  Shakespeare,  Goethe,  IMoliere  or 
men  of  less  fame,  to  be  had  in  various  acceptable  forms  ?  In  the 
case  of  Lope,  on  the  other  hand — surely  one  of  the  world's  most 
fascinating  geniuses — the  record  shows  chiefly  biographical  oi- 
bibliographical  studies  and,  as  regards  the  plays  themselves, 
either  intermittent  series  of  collections,  or  an  occasional  reprint 
of  a  single  comedia.  The  volumes  of  the  former  are  for  the 
greater  part  misguided  efforts  *vhich  have  been  highly  successful 
in  keeping  his  works  peacefully  shelved. 

Take,  for  example,  the  question  of  Lope's  autograpli  iiiami- 
scripts,  which  under  all  circumstances  must  form  the  beginning 
of  any  conceivable  investigation  of  his  dramatic  art.  Is  it  not 
natural  to  suppose  that  they  would  all  be  accessible  in  critical 


2.  DHAMATIC  Airr  OF   I.Ol'E   DK    VEGA 

editions,  or  some  fonii  of  adequate  reprint?  Yet  in  the  face 
of  this  crying  need  oui-  efTorts  have  been  spent,  for  the  most  part, 
on  pUiys  already  i)i'iiilc<l  in  a  foi-m  wliicli  does  not  give  us  tlie 
fuiidaiiicntal  coiu'cpt ion  ol'  his  manner  of  creation.  Tliis  implies 
no  ci'iiieisiii  of  the  results  already  offered;  it  is  I'ather  an  expres- 
sion of  i-egret  that  the  liniitetl  energies  and  enthusiasms  of 
Spanisii  scholars  should  be  thus  scattered,  and  not  directed  to  a 
single  end.  We  shall  nevei-  have  even  a  working  edition  of  any 
great  Spanish  writer,  if  these  disconnected  methods  of  study  per- 
sist. The  task  is  enormous,  to  be  sure,  and  life  very  brief;  our 
judgments  are  erring,  and  critics  ever  ready  to  tell  us  so.  Yet 
it  is  inconceivable  that  so  wealthy  a  literature  as  the  Spanish 
should  not  stir  us  up  to  ever  increasing  efforts  in  order  that  its 
history  and  its  master  minds  may  be  illuminated;  but  we  are 
hindered  by  the  imperfect  state  of  our  tools,  and  a  lack  of  cour- 
age and  concerted  energy  to  make  them  better  without  d^lay. 

It  is  with  trepidation  that  one  begins  to  speak  of  any  of  the 
pi-inted  versions  or  collections  of  Lope's  comedias.  The  most 
easily  accessible  collection,  the  four  volumes  contained  in  the 
Bihlioteca  dr  out  ores  rspariolcs,  cannot  be  passed  without  praise 
in  so  far  as  it  repi'esented  a  commendable  effort  to  gather  his 
widely  scattered  productions.  Nevertheless,  this  edition  cannot 
be  recommended  to  the  average  student.  The  diminutive  type, 
the  brittle  paper,  the  crowded  page  in  triple  column,  the  num- 
erous inaccuracies,  which  are  apparent  especially  when  compared 
Avith  autographs  or  early  editions,  all  seem  to  have  been  devised 
to  make  Lope  repellent.  In  the  case  of  the  plays  included  in  the 
Ohras  Sueltas,  printed  by  Sancha  in  the  eighteenth  century,  we 
have  a  more  acceptable  format ;  this  set  has  the  disadvantage, 
however,  not  only  of  being  relatively  scarce  in  our  libraries,  but 
of  containing  dramas  which  manifest  no  judicious  selection  or 
absolute  trustworthiness  of  text.  And  what  can  be  said  to  eon- 
done  the  mountain.ous  edition  begun  by  the  Academy  1  Much  has 
already  been  written  concerning  the  defects  of  the  collection,  its 
untoward  size,  its  heavy,  thick  paper,  its  inaccuracies  even  where 
an  autograph  could  have  served  as  a  basis.     (Compare,  for  ex- 


DE  AM  A  TIC  ART  OF  LOPE  DE  VEGA  3 

ample,  the  printed  vei'sion  of  cl  Bastardo  Mudarra  with  Lope's 
Driginal.)  I  shall,  therefore,  add  no  additional,  gratuitous  word 
of  blame ;  and  indeed  were  it  not  for  the  unequalled  and  im- 
mensely stimulating  introductions  by  the  late  Menendez  y  Pelayo, 
one  would  be  tempted  to  pass  over  the  edition  in  silence.  As 
regards  the  continuation  of  the  Academy's  project  the  volumes 
which  have  appeared  up  to  date  only  awaken  feelings  of  pain  and 
regret.  No  principle  can  be  falser  than  that  enunciated  by  llic 
Academy's  editor  when  he  says  that  it  is  essential  to  publish  all 
the  works  of  Lope ;  no  text  can  be  more  unwelcome  than  an 
unreliable  one ;  no  edition  of  twenty  plays  per  volume  can  ])(' 
manageable ;  no  volume  can  be  of  as  little  service  as  one  that  will 
never  be  read.  Does  it  not  seem  that  we  are  face  to  face  once 
more  with  an  amateurish  project,  which,  if  not  modified  at  once, 
will  again  miscarry,  and  leave  only  the  discouragement  which 
follows  every  abortive  effort?  There  are  thus  problems  whicli 
always  confront  the  Spanish  student  and  which  deserve  a  prompt 
solution.  Is  this  collection  to  be  forever  a  torso;  can  the  latest 
venture  be  carried  to  a  successful  issue ;  is  Lope  never  to  receive, 
if  only  in  part,  what  is  his  due  ? 

Perhaps  I  may  be  forgiven  for  inserting  at  this  point  a  plea 
to  the  distinguished  members  who  compose  the  Royal  Spanish 
Academy  (de  la  lengua)  and  Avith  such  authority  or  prestige  as 
my  name  may  possess,  be  these  ever  so  slight,  urge  upon  them  that 
something  fruitful  be  determined  at  once.  I  speak  out  of  my 
great  love  for  Spanish  letters  and  because,  as  scholars  aj-e  aware, 
the  steps  already  taken  to  bring  out  some  of  Lope's  works  have 
been  singularly  potent  in  killing  any  latent  interest  in  his  art. 
Why  not  proceed  forthwith  to  make  good  this  lamentable  defect  ? 
Surely  Lope  has  precedence  over  many  other  literary  matters 
in  Avhich  the  Academy  has  shown  great  generosity  and  upon 
which  it  is  no  doubt  willing  to  spend  its  funds.  A  committee 
could  be  first  appointed  to  examine  very  carefully  the  actual 
condition  of  affairs ;  it  could  then  make  a  practical  report  on 
M'hat  must  be  done  to  assure  students  of  Lope  that  a  readable 
working  edition  of  his  comedias  will  see  the  light.    The  basis  of 


4  in:  AM  AT  ic  Airr  of  lopk  he  ikca 

;iiiy  successful  piojcci  should  lie  c;isy  1o  dctennine  sinco  it 
ilcpcnds  ciilircly  on  ;i  judicious  selection  of  plays  sufficient  to 
\l\\v  a  conipi-elicnsive  idea  ol'  his  di-auialic  aii,  on  a  |)ainstaking 
I'cpfint  of  thai  selection,  and  on  a  foiMu  siiiii)h'  and  attractive. 

As  i-egards  a  cai-eful  selection  of  his  hest  plays,  this  is  feasihle 
and  liighly  desii-able  since  it  clears  away  much  dead  weight. 
After  readiup-  available  plays  and  formiiip:  an  opinion  of  Lope's 
ai1.  no  new  play  wliich  1  have  been  abh-  to  find  and  I'ead.  li;'.,s 
uioditied  my  conclusion.  This  must  also  be  the  e.xperiencr  of 
othei-s,  and  means  that  the  large  innnber  of  Lope's  plays  is  no 
drawback  to  pi-inting  an  edition  of  his  best  comedias.  Perha]is 
the  suggestions  of  those  who  know^  Lope  may  aid  in  making  out 
an  admirable  list  of  plays.  At  all  events,  would  not  thirty  or 
foi'ty  small  volumes,  each  containing  at  the  most  three  plays,  care- 
fully reprinted,  and,  if  need  be,  without  notes  or  introduction, 
be  a  greater  monument  to  Lope  than  any  other  that  critics  could 
devise  1 

In  connection  with  the  manner  of  reprinting  his  works,  it 
nnist  be  remembered  that  no  arbitrary  procedure  can  ever  again 
make  Lope  a  modern,  that  the  body  of  readers  who  will  study  him 
intelligently  and  sympathetically  must  ever  remain  small — no 
unusual  fate  for  the  greatest  of  our  writers— and  that  a  depend- 
able reprint  of  the  best  available  texts,  not  modernized,  is  all 
that  can  be  asked. 

Finally,  the  format  of  the  edition  may  be  easily  determined, 
if  its  main  purpose  be  never  lost  from  view,  namely,  to  place  a 
scholarly  selection  within  reach  of  any  student  of  Spanish  letters 
the  world  over. 

i\Iay  this  ardent  hope  be  realized  in  the  near  future ! 

Various  editions  of  single  plays  need  not  be  mentioned  here 
as  they  hardly  change  the  facts  presented  regarding  the  lack  of 
opportunity  to  study  Loi)e\s  art.  Moreover,  when  we  come  to 
examine  into  the  state  of  Lope  criticism,  we  are  but  little  better 
off.  The  reader  who  hesitates  to  form  his  own  opinion  of  Lope's 
dramatic  gift,  invariably'  goes  off  on  a  still  hunt  for  aid,  and 
presently  returns  with  the  opinions  of  Schack,  or  Ticknor,  or 


DRAMATIC  AET  OF  LOPE  BE  VEGA  5 

Chorley,  or  Meneudez  y  Pelayo,  or  of  some  author  who  derives 
from  these.  Nothing  can  be  more  disheartening  to  a  teacher,  and 
when  recently  a  student  returned  with  a  revamped  opinion  ex- 
tracted from  the  above  critics,  I  determined  to  lay  aside  for  a 
little  while  all  other  work  begun,  in  order  to  ease  my  troubled 
soul  in  this  matter.  Let  me  begin  by  stating  very  clearly  that 
I  have  no  desire  to  belittle  the  great  work  of  these  men,  notably 
that  of  Menendez  y  Pelayo  whose  unfinished  series  of  essays  on 
Lope  will  ever  make  evident  to  us  how  irreparable  is  the  loss  of 
his  uncompleted  studies.  But  some  of  the  criticisms  referred  to 
above  were  set  down  three-quarters  of  a  century  ago,  and  many 
of  our  points  of  view,  as  well  as  our  information,  have  greatly 
changed  since  then.  Perliaps  I  should  be  less  weary  of  it  all,  if 
I  had  not  had  it  served  up  to  me  in  various  forms  with  rarely  a 
new  point  of  view. 

In  Germany  the  words  of  August  Wilhelm  von  Sclilegel  and 
Schack  are  still  religiously  repeated  from  generation  to  genera- 
tion, and  we  are  taught  to  believe  that  through  them  the  last 
word  on  the  Spanish  drama  has  been  said.  Lideed  the  world 
knows  how  many  admirable  things  these  eminent  judges  have  set 
down,  and  that  their  praise  of  the  classic  Peninsular  theatre  far 
outweighs  any  adverse  criticism  they  may  have  uttered.  But 
the  motive  power  Avliich  formed  their  opinions  was  not  infre- 
quently an  uncritical  entluisiasm.  This  had  its  roots  in  tlie  ro- 
mantic movement  and  leaves  us  unconvinced  today.  As  regards 
Schlegel's  dicta  especially  I  recall  an  experience  of  my  student 
(lays  in  Germany  which  shows  how  deeply  fixed  a  point  of  view 
may  become  even  among  scholars.  When  I  ventured  in  class  to 
express  my  doubts  about  an  assertion  which  Schlegel  had  made 
concerning  the  nature  of  the  Spanish  drama,  I  received  the  cold 
reprimand  :  ''An  der  Kritik  dieses  Mannes  ist  nicliis  zu  rilttcJn." 
Perhaps  so.  But  I  have  ever  since  been  possessed  by  the  desire 
to  give  the  reputation  of  that  worthy  old  gentleman  a  little  shak- 
ing down,  if  only  to  help  in  destroying  forever  the  principle  of 
Nachheterei.  Schack,  for  his  part,  set  up  a  comprehensive  system 
of  dramaturg}^  inspired  by  a  comparative  study  of  the  world's 


fi  i>i:.\M.\ric  Airr  of  /.on-:  />/•;  ifc.i 

tlic;ilrc  .iiiil  coloi'cd  liy  liis  iirdciit  love  for  those  i^'iiiciplcs  of  tlic 
i-()iii;iiit  ic  iiioNi'iiiciit  wliicli  wci-c  ill  vo<^U(' during  his  youth.  Ilav- 
iuf^  fralhcn'd  iuiiiinicr.ihlc  dr.-iiii.-it  ic  <'l(Mii("iits  oi'  fonnulao,  rcjii-c- 
sciitcd  liy  spccilic  jihrascs  such  as  the  di'awiut,'  of  characters,  the 
(ieveh)i)iMeiit  of  |>h)l.  truth  to  nature  and  actual  society,  psycho- 
logical excellence,  careful  execution  of  details,  vai-iety  of  moods, 
and  scores  of  others,  he  lhei'eu|)on  fitted  Lope  into  the  system. 
It  is  evident  from  the  hegiuning  that  Schack  has  set  U})  si)ecific 
standai-ds  and  that  he  is  going  to  adapt  his  favorite  authors  to 
his  idealized  scheiiie.  In  th(>  case  of  Loj)e  this  is  misleading,  espe- 
cially I'or  students  who  are  not  accjuainted  with  his  art.  It  is 
cei'tainly  an  illogical  procedui-e  to  conceive  an  ideal  di'anuitui'gy 
and  then  look  about  and  see  which  authors  satisfy  most  elements 
of  the  formula.  Lope's  individuality,  his  inspiration,  were  so 
peculiar  and  so  original  that  to  grasp  him  in  his  entirety  we  nuist 
start,  if  we  wish  to  exphiin  him,  not  from  a  general  scheme,  but 
with  a  purely  objective  analysis  of  what  he  wrote:  not  by  con- 
ceiving pi'inciples  which  he  never  had  or,  at  least,  nevei"  lived 
np  to,  l)ut  by  noting  the  specific  elements  or  phenomena  A\iiicli 
constitute  the  unwritten  formula  of  his  art. 

In  America  we  point  with  pride  to  Ticknor,  our  fii-st  Spanish 
scholar,  who  wrote  at  about  the  same  time  that  Sclmck  produced 
his  liistoi-y  of  the  Peninsular  drama.  Ticknor 's  analysis  of  the 
Spanish  stage,  notably  of  Lope's  art  and  works,  still  finds  many 
readers.  But  his  presentation  could  not  exceed  in  quantity  what 
seemed  eompatil)le  with  the  entire  history  of  a  nation's  literature 
and  consequently  is  very  inadequate,  especially  today.  Xoi- 
have  we  in  this  ]iarticular  followed  up  the  fine  ti^adition  of 
Spanish  studies  which  he  established  by  making  any  attempt  at 
a  compi-ehensive  study  of  Lope's  dramatic  art.  We  have — beside 
]\Ii'.  Rennert's  excellent  l)iographical  and  bibliographical  woi'ks 
— a  luimber  of  l)rief  monogi-aphs  to  our  account  whicli,  however, 
do  not  claim  to  do  him  full  justice.  Ticknor,  too,  measured  Lope 
])>■  the  convenlional  rod  of  his  day.  Owing  to  his  sane  tempei'a- 
ment,  his  poise,  he  never  reached  out  for  glowing  colors  to  exi)ress 
his  svmpatln-,  nor  did  he  ever  exceed  the  bounds  of  cool  and  fre- 


VEAMATIC  Airr  OF  LOPE  DK   VKCA  7 

(jui'iitly  V('i-y  (li-y  ('xpdsil  ion  ;  hut  he  none  the  less  sliows  cvn-x'- 
whcrc  tluil  his  vast  cai-ly  i-fadiii.u'  reposes  on  I'oinaiil  ic  I'ouiida- 
tioii.s,  tliat  his  synipatliies  ai'e  witti  such  eh'iiieiils  of  draiualie  art 
as  hav*:-  lieeii  customai'ily  einpliasizt'd  by  the  chief  exponents  of 
tliat  nioveiuent.  Tliis  is  all  ((uite  loyieal.  Tiel^nor  wi-ote  wjirn 
literature  in  England  and  especially  in  America  had  not  >-et 
drifted  a\va>-  fi'oni  I'oinanlicisni,  and  literary  ci-iticisni  fre(|uent!y 
held  up  standai'ds  based  upon  "the  waiMii  and  passionate  produc- 
tions of  southern  Eui'Oi)e."  A  i*etrarch.  or  a  Calderon  especially, 
seeuu'd  to  vindicate  these  standards,  and  the  I'onuuilicists  were 
al)le  to  turn  to  account  in  their  theories  many  of  the  salient  ti'aits 
of  Italian  and  Si)anisli  litei'at  ui'e.  It  would  be  absurd  to  deny 
that  Lope  has  any  of  the  (pudities  which  found  an  echo  in  the 
roiiKtutic  nio\"eiiieut.  I5ut  to  explain  Loj)e's  di'amatic  ai't  in  the 
light  of  I'onuuiticism  would  l)e  ecpially  so.  In  Ticknoi-"s  opinion 
a  inimber  of  the  |)la\s  which  he  discusses,  pi-eseiit  a  faithful 
pic1ui-e  of  Sj)anish  society.  WIkui  I  come  to  speak  of  Lo])e"s  art 
1  shall  try  to  show  that  this  is  not  convincingly  so,  and  that  such 
asset  t  ions  iiia<le  without  (puvlifications  are  exceedingly  niislead- 
ing.  l'>ut  this  opinion  was,  and  still  is,  one  of  the  hob!)ies  of 
drauuitic  criticism,  to  tind  wherevcu'  possible  ""a  delicate  observa- 
tion of  local  or  national  customs." 

England  has  given  us  Chorley's  admirable  exi)Osition  of  the 
charactei-  of  the  Si)anish  stage;  few  scholai-s  have  laboreil  over 
Lope  and  his  bibliography  as  sympathet  icall\-  as  he  and  a  great 
uuuiy  of  his  affirnuitions  ai-e,  thercd'ore,  highly  suggestive.  l>ut 
1  nuist  eini)hasize  again,  that  1  am  speaking  fi'om  tlie  point  of 
\w\\  of  the  teacher  who  is  attempting  to  make  Lojte  atti'active 
to  the  average  student.  From  this  point  of  view  ("hoi-ley's  atti- 
tude is  often  a  poor  guide  because  he  reaches  back  altogether  too 
fai-  to  explain  matters  directly  before  him.  For  this  reason  it 
is  ditticult  to  agree  with  those  who  tliiid;  it  necessai-\-  to  quote 
Choili-y  wluMiever  Lope's  ai-t  is  discussed.  It  has  from  tinu^  to 
time  been  the  habit  of  English  critics  who  have  followed  in 
("horley's  footsteps  to  call  Spanish  society  •■essentially  supei'- 
ticial,"  oiu'  to  which  "the  occasional  momeiU   of  philosopliic  re- 


s  ni:.iMATic  Airr  of  lope  dk  teg  a 

fioetioii  is  uncongenial."  By  these  and  similar  assertions  the 
Spaniard  naturally  gets  the  impression  that  such  foreign  critics 
arc  clncHy  imjiressed  with  the  fact  that  they  themselves,  on  the 
olli«'r  liand,  helong  to  a  society  essentially  profound,  and  the 
modei-n  student  is  thus  introduced  to  those  unfortunate  antagon- 
isms which  go  back  to  the  days  of  Queen  Elizabeth.  Sucli  phrases 
also  constitute  an  easy  way  of  explaining  our  inability  to  do 
justice  to  the  principal  features  of  an  art  as  peculiar  as  that  of 
Lope  de  Vega.  Chorley,  moreover,  applies  methods  of  historical 
and  ])liilosoi)hiea]  analysis  which  seem  top-heavy  to  the  beginner 
because  he  reaches  back  to  the  earliest  crude  phases  of  Spanish 
culture  to  explain  a  great  art  of  the  seventeenth  century.  No  one 
today  is  seriously  inclined  to  base  his  judgment  of  the  culture 
of  the  Peninsula  on  Buckle's  brilliant  chapter  on  Spain,  to  be 
found  in  his  History  of  Civilization.  And  yet  a  great  deal  of 
Chorley  has  the  ring  of  Buckle,  for  however  true  the  latter  may 
be  here  and  there  he  has  for  the  most  part  become  old-fashioned ; 
he  presents  an  attitude  which  we  can  no  longer  accept  unless 
renovated  by  a  few  new  ideas.  The  following  quotation  will 
explain  best  what  I  mean  by  Chorley 's  reaching  back  too  far  to 
explain  the  character  of  the  Spanish  drama.  He  is  talking  of 
the  "intensely  self-conscious  individualism"  of  the  Spaniard, 
and  continues : 

]u  the  earlier  times  it  presents  itself  without  disguiso  in  the  form  of 
personal  independence  and  fiery  self-assertion;  and  from  its  action  on  the 
general  ideas  of  worth  and  duty  diffused  throughout  Europe,  by  the 
development,  on  the  feudal  basis,  of  the  institution  of  Chivalry,  may  be 
deduced  the  qualities  involved  in  the  Castilian  type  of  honor — overween- 
ing self-assertion,  punctilious  resentment  of  offence,  jealous  maintenance 
of  jirivilege  in  title  and  office,  the  importance  attached  to  purity  of 
blood  and  the  high  sense  of  the  obligations  annexed  to  the  claims  of 
nobility.  On  this  ground,  the  mighty  influences,  political,  social  and 
moral,  let  loose  by  the  turn  in  Peninsular  affairs  that  began  in  the  days 
of  Ferdinand  and  Isabella,  have,  at  the  period  which  concerns  us,  now 
been  working  for  more  than  a  century;  and  a  strange  w^ork  they  have 
made!  What  was  once  rude,  simple  and  vigorous,  has  become  in  some 
resi)ects  fancifully  refined,  in  others  altered  or  weakened,  in  all  vastly 
complicated.  It  is  a  combination  in  which  relics  of  the  ferocity  of  war- 
like ages,  and  of  the  wild  ways  of  personal  independence,  are  mingled 


DL'AMATIC  ABT  OF  LOPE  BE  VEGA  9 

with  the  courtesies  and  caprices  of  a  time  of  luxury  and  ostentation,  ami 
forced  into  unnatural  shapes  by  the  high  pressure  of  despotism  in  State 
and    ChuiT'h. 

Pare   ustal  la   hurra,   we   unconsciously   exclaim   at  this   point, 
come  back  to  our  own  days  and  the  matter  in  hand.     For  after^ 
all  is  said  and  doiie,  to  have  Lope's  art  thoroughly  illuminated.      ) 
we  need  go  only  to  his  own  comedias.    Lope  explains  Lope  better  / 
than  the  days  of  Wamba  explain  him.  / 

In  Spain  the  criticism  of  the  late  Menendez  y  Pelayo,  to  be 
found  in  his  Historia  de  las  ideas  esteticas  en  Espaha,  and  in 
those  essays  on  individual  plays  which  he  prefixed  to  the  volumes 
of  the  Academy's  edition,  has  no  equal.  These  scattered  utter- 
ances are  throughout  insinring,  and  coming  from  one  whose 
understanding  of  Loi)e  was  so  profound,  whose  taste  was  so  ini- 
erringly  sound,  should  be  gathered  at  once  and  reprinted  in  a 
form  aeeevssible  to  all. 

I  may  be  pardoned  for  not  mentioning  all  of  the  recent  critics 
nor  the  monographs  which  are  related  to  Lope's  work.  The  fact 
that  they  deal  largely  with  bibliographical  matter  must  justify 
their  exclusion  from  my  argument.  The  fear  expressed  above 
lest  we  accept  too  lightly  current  Lope  criticism  will  meet  with 
opposition  on  the  part  of  many  conservative  readers.  Of  that 
I  am  well  aware.  But  perhaps  a  defence  of  these  giants  of  old 
on  the  part  of  others  will  bring  out  something  new,  and  that  is  all 
I  desire.  The  very  best  criticism  is  bound  to  grow  musty  and 
stale  unless  ventilated  and  renewed  from  time  to  time ;  the  dill'er- 
ence  between  certain  books  on  shelves  and  men  in  their  graves 
is  not  \evy  great  after  all.  Hamlet's  "How  long  will  a  man  lie 
i'  the  earth  ere  he  rot?"  also  applies  to  the  criticisms  of  bygone 
days.  What  we  say  today  ought  of  right  to  be  replaced  tomorrow 
by  something  more  illuminating,  more  comprehensive,  more  true. 


Til  !■; 

I'ol.'.MrhA    OF   AK'T 

VKKSrs   THK 

..\  OK 

lll'.MAX   \AFE 

he  ;iv, 

i-ratrc  sludciit  who 

desires  1o  dis- 

coiiii 

)<).si1  ion   is  to  scnrc 

li   llii'ou'j;!)   liis 

u't  r  (■ 

(iiiK  (lias,  and   llic  i 

lumeroiis  1)1-0- 

]0  DUAMATW   Airr  OF   I.Ol'F.    PF    IFCA 


LOPK'S   DRAMATIC    AK'T: 

FOK'.MI"! 

The  first  tendency  of  1 
eover  Lope's  principles  of 
essay  <l  Arl<  )ii((  ro  (h  Ikk 
lognes  and  dedicalions  prefixed  lo  1lie  lirsl  editions  of  liis  ]ilays. 
This  is,  to  me  at  least,  a  finilless  aca(h'inie  ])roeedure.  Loi>e» 
writing  a  comedia,  and  Lojx'  ti'\iiig  to  explain  how  it  is  done,  are 
two  absolutely  different  men,  two  minds  woi'king  in  wholly  dis- 
tinct fashion  and  on  diff'ei-ent  lev<'ls.  The  Arte  )iu(  )■(>  especially 
is  no  cine  to  what  we  ch-sii-e  most  to  know,  but  pedantic  ill-com- 
bined material  drawn  fi-om  his  reading;  it  is  the  acceptance  in 
theorj^  of  dramatic  principles  to  which  the  work  of  his  life  gave 
the  lie,  an  uncritical  repetition  of  traditional  phrases  concerning 
the  nnits  of  time,  place  and  action,  rarac  aves  which  never  lodged 
on  Lope's  tree,  a  nai've  explanation  of  the  differences  apparent 
between  his  own  ci-eation  and  the  standai'd  works  of  old,  coupled 
with  excuses  for  cat(M-ing  to  the  poor  taste  of  the  contemporary 
theatre-goer.  Nor  do  his  pi'ologues  and  his  casual  definitions  of 
the  comedia  lead  us  out  of  the  woods  and  into  the  sunshine. 
Indeed,  when  all  is  said  and  done,  the  Lope  who  tells  ns  of  his 
art  is  a  mind  cii-cumscri!)e(|  l)y  aect^pted  academic  teachings  to 
which  any  deliberate  oi)iiosition  would  have  been  nnpardonable 
heresy.  Cervantes,  with  his  meagre  dramatic  and  slight  poetic 
gift,  and  the  various  mediocre  contemporaries  of  his  early  efforts, 
jogged  all  their  lives  through  in  these  trammels,  and  if  Lope's 
original  genius  had  not  broken  the  academic  bonds  wdiich  his 
uninspired  self-criticism  tried  to  accept,  we  would  have  had  no 
monstruo  de  la  nuiuvcdeza;  Sjiain  could  not  point  with  pride  to 
his  repertoire  which  fui-nish(-s  an  examjile  of  every  note,  or  com- 
bination of  notes,  struck  by  any  of  the  i)laywrights  destined  to 
follow  in  the  stt^ps  of  this  master  com])oser. 


DHAMAriC  AET  OF  LOPE  DK  VE(;A  15 

tlie  (  nircmcses  of  Cervantes,  Lope  and  others),  and  the  liighly  • 
poetic  comedia.  If  we  are  to  judge  by  bulk  alone  this  literature 
of  the  imagination  looms  verj'  much  larger  in  the  history  of  the 
Spanish  people  than  theii"  realism,  extraordinary  as  the  latter 
is.  Works  of  pure  invention  appealed  longei'  and  had  a  greater^ 
hold  on  their  artistic  intelligence  than  any  other  t>'pc.  If  Lope's 
coiiudia  is  here  classed  with  the  great  types  of  literary  invention 
an  analysis  of  its  chief  elements  may  presently  jiistify  this  i)oint 
of  view;  like  them  his  creation  is  an  extraoi'dinary  tribute  to  the 
artistic  powers  of  appreciation  of  the  Spanish  people  whose  con- 
stant favor  alone  vitalized  his  works  and  allowiMl  tliem  to  hold  the 
stage  in  uninterrupted  popularity  tlu'oughout  his  long  career. 
Yet  we  shall  later  feel  inclin<'d  to  wonder  at  tliLs  artistic  intelli- 
gene(%  this  boundless  love  of  a  jioi^ic  work  of  the  imagination, 
when  we  come  to  learn  that  Lope's  conudia  rei)resents  a  rare'' 
composite  expression  which  mingles  reality  with  various  idealized 
features,  and  not  seldom  with  unrealities  for  which  I  have  never 
fonnd  any  parallel  in  contemporary  documents,  noi-  any  fonnda- 
tion  in  reliable  pictures  of  Spanish  society  of  his  time. 

We  still  have  to  state  the  chief  reason  why  the  conirclid  takes 
its  i)lace  beside  works  of  the  inventive  faculty  rather  than  those 
inspired  b.y  the  unadorned  actualities  of  life :  that  i-eason  may 
be  found  in  Lope's  concessions  to  tradition,  not  infi-e(inently  at 
the  expense  of  a  closer  observation  of  contemporary  manners  and 
of  psychologic  accuracy,  hi  spite  of  his  ovei-w!ielming  produc-  " 
tivity,  his  variety  and  originality.  Lope's  inventive  genius  was  ; 
never  free  from  the  grip  of  literary,  aeademie  and  stage  tradi- 
tions, and  the  reader  will  see  from  what  follows  to  what  extent 
they  determined  the  formula  of  his  art.  It  is  the  presence  of 
these  traditions,  the  acceptance  or  imitation  of  specific,  inherited 
features,  the  inability  to  shake  off  the  intiuence  of  something 
already  })i'inted,  the  assimilation  of  traits  of  style  or  of  eui'i-eiitly 
used  material  which  compel  us  to  class  the  (■(nindia  with  works 
of  the  imagination  rather  than  with  those  which  held  a  mirror 
up  to  imture.  The  influence  exerted  by  the  fonnei-  will  be  appai-- 
ent  from  what  is  said  hereafter. 


16  DIUMATIC  ART  OF   LOrE  DE   VEGA 

Tlie  scope  of  this  essay  obliges  me  to  discard  any  considera- 
tion of  the  less  vital  themes  of  Lo|)e's  vast  proji^ramme.  I  refer 
to  such  woi'ks  as  the  coniedias  dc  Santos  and  1o  those  which  deal 
with  ])('culiai'  legends,  mythological  subjects  and  semihistorical 
laics.  'I'lic  lii-st,  indeed,  are  not  remote  from  Spanish  culture  of 
the  epocii  under  consideration,  but  they  are  fai'ther  removed, 
as  a  rule,  not  only  from  the  dramatic  formula  of  human  life 
than  any  i)lays  we  choose  to  include,  but  often  do  violence  even 
to  Lope's  purely  artistic  achievement.  As  regards  all  of  the 
latter  ty])c,  they  indeed  increase  the  bulk  of  his  output  but  add 
practically^  notinng  vital  to  the  great  elements  of  his  art ;  they 
give  certain  arbitrary  principles,  such  as  that  every  subject  is 
fit  for  theatrical  presentation,  a  wider  range,  but  owing  to  the 
vague  di-amatic  application  of  these  principles  they  add  no  im- 
portant or  illuminating  feature  to  our  analysis.  I  am  dealing 
/  only  with  those  plays  through  which  the  name  of  Lope  has  any 
hope  of  surviving,  in  whicli  he  presents  actual,  living  themes 
in  an  infinite  variety  of  form,  and  on  a  canvas  which  has  not 
wholly  paled  as  have  so  many  comedias  of  his  day.  In  short, 
I  am  drawing  my  inferences  chiefly  from  those  plays  which 
present  Lope's  nearest  approach  to  the  game  of  life  and  love  in 
all  of  its  comic  or  tragic  aspects.  For  we  can  retain  an  abiding 
)  interest  only  in  those  children  of  Lope's  fancy  wdiich  reveal  the 
I  traits  of  our  common,  human  heritage,  the  whims  and  passions  of 
all  men  and  women  clothed  by  him  in  the  living  colors  of  his 
j       unparalleled  poetic  gift. 

I  shall  now  take  up  the  chief  elements  of  his  literary  inherit- 
ances and  the  tradition  which  forms  a  part  of  the  foundation  on 
which  his  comcdia  was  raised. 


DRAMATIC  ART  OF  LOPE  BE  VEGA  17 


INHERITANCE  AND  TRADITION  MANIFEST  IN  THE  CHARACTERS 

Let  US  go  l)ack  tliree  liuiulred  j^cars  and  imagine  ourselves 
seated  among  tlie  spectators  at  various  representations  of  Lope's 
comcdias.  As  we  try  to  seize  and  hold  the  images  tliat  stand 
out  fi'oin  tile  wliii-l  of  rapid  action  passing  before  our  eyes,  nunuM-- 
ous  indelible  inipi-essions  are  stamped  upon  our  memories.  The 
foremost  of  these  is  that  we  liavi  seen  the  work  of  a  master  hand, 
which,  after  fashioning  a  certain  number  of  characters,  has,  with 
magic  skill,  given  them  motion,  presenting  them  day  after  day 
in  an  unlimited  number  of  different  combinations.  Their  speech 
is  never  the  same,  never  monotonous,  their  witticisms  cannot  fail 
to  arouse  the  laughter  of  the  audience ;  their  emotions  of  pain, 
anguish,  hatred,  jealousy,  and  love  awaken  in  all  a  sympathetic 
response.  Yet  in  spite  of  the  incredibly  rapid  action  which 
characterizes  the  great  majority  of  Lope's  comcdias  and  lends 
his  artistic  formula  all  the  outward  manifestations  of  life,  in 
spite  of  the  large  amount  of  pure  stage  business,  which,  as  is 
apparent  at  every  turn,  permitted  talented  actors  and  actresses 
to  hold  the  attention  and  to  win  the  favor  of  the  public,  we  are 
bound  to  ask  ourselves  again  and  again,  is  this  the  perfect  image 
of  actual  contemporary  Spanish  society  which  so  many  writers 
take  it  to  be?  The  answer  must  be  in  the  negative.  Let  us  look 
at  some  of  the  phenomena  which  pass  before  us. 

No  art  which  professes  to  picture  human  society,  family  life, 
dail.y  episodes  of  the  average  man  or  woman,  can  set  ilself  any 
restrictions ;  it  cannot  omit  arbitrarily  nor  overemphasize  a  cer- 
tain number  of  facts  or  elements.  Thus  we  are  impressed  with 
the  fact  that  human  society  in  the  comedia  has  with  rare  ex- 
ceptions no  mother.  All  reasons  given  in  defense  of  this  nmis- 
sion  but  emiihasiz(^  the  fact  that  we  are  not  dealing  so  luucli 
with  a  limitation  imposed  upon  a  great  art  by  etiquette  or  cur- 
rent manners  as  with  a  silent  acquiescence  in  a  litei-ary  tradi- 
tion which  goes  back  through  centuries  of  tlie  life  of  Koine  and 


18  DUAMAiir  Airr  of  i.ori-:  />/•;  \  ec.a 

^  till-  Latin  nations,  a  tradition  none  tlic  I.-ss  fixcil  liccansc  it  sliows 
occasional  exceptions.  We  may  pi-csniiic  that  the  niotlicr  has 
always  ph-i.\-cil  an  untliamal  ic  a  passive  |*ai1  in  actual  liuniaii 
society:  Ii.t  (hities  and  her  intlu.Mice  have  l)een  cii-cuiiiscribed  ; 
siie  niie-lil  hi'  seen  Imt  not  lieaid.  and  evi'ii  thai  oni\-  in  her  own 
jioine.  The  usual  ajjpeal  lo  Moorish  intlucn<-e  on  the  seclusion 
of  women  cannot  be  disregarded  altogether,  to  he  sure,  N'et  by 
itself  it  makes  a  weak  argument,  because  the  daui^'htei's  would 
have  to  be  incduded  in  the  climinatiftn  and  we  should  have  no 
(■<)Hi<<li(i.  Moreover,  exceptions  I'xplain  this  phenomenon  which 
was  accepted  by  the  ]\enascence  drama  all  over  Europe  and  nud<e 
US  realize  that  the  introduction  of  a  mother  into  the  plot  may 
lead  ns  even  fai-thei'  awa\-  fi'om  the  |)ictni-e  of  actual  society 
than  her  customai-\-  omission.  Take,  for  exami)le,  la  discn  in 
Enuiuoradd.  in  which  the  mother  has  all  the  gross  traits  of  a 
duenna,  all  the  undignified  weaknesses  of  a  silly  old  woman  who 
courts  the  advances  of  a  young  gallant,  and  particii)ates  in 
rendezvous  and  other  eonveutioiud  eiusodes  designtnl  for  con- 
niving old  females;  or  (Jiiicii  (iiiKi  IK)  li(i(j(i  fieros,  in  which  mother 
and  daughter  are  rivals  intriguing  to  win  the  same  lover,  in 
which  race  the  logical  victory  of  the  >oiuig  daughter  leaves  the 
mother  angi-y  and  shamed,  and  the  i)lay  closes  with  the  latter 
reproaching  her  daughter  for  her  cunning,  "Tu  has  heeho  esta 
inveneion.""  Or  take  los  Md'uidrcs  dc  Ihlisa,  in  which  the  wid- 
owed mother,  Lisarda,  is  depicted  as  ready  to  accept  another 
husband.  She  falls  in  love  with  a  supposed  slave  of  the  house- 
hold, who  has  ali-eady  taken  the  daughter's  fancy,  while  the  son 
also  falls  in  love  with  a  supposed  female  slave.  Lisarda,  thera- 
foi-e,  impresses  one  merely  as  a  duenna  with  the  title  of  mother, 
but  without  sweetness  or  dignity,  for  she,  too,  meets  with  dis- 
comfiture an«l  i-idicule  at  the  close.  Is  this  the  retired  and  gentle 
mother  of  Spanish  society?  Finally,  in  Lope's  Dorotea,  in  whicli 
critics  see  more  personal  history  than  is  justifiable  to  assume,  we 
find  the  i-epulsive  extreme  of  a  mother.  Teodora,  who  is  willing 
to  sell  her  daughter's  honoi'  to  a  nabob  for  gold.  Even  if  we 
grant  the  possibility  of  an  iiulividual  case  of  such  depravity  in 


DRAMATIC  Airr  OF  LOVE  DE   VECA  19 

liuinaii  society  aiul  admit  that  Lo])t'  Iiad  a  liviiii;'  modi'l  in  mind, 
we  need  only  compare  Teodora  witli  the  o()-l)(.i\vc('ii  of  lie!  ion 
and  drama  in  Italy  and  Spain  to  sec  that  she  s|)('aks  tlic  ]ani;iiagi' 
of  litciary  tradition.  Tlie  plot,  accordini;'  to  which  the  reader 
is  pcnniltt'd  to  sec  the  interioi'  of  Dorolca's  home,  re|)resents 
Ihe  hiltei'  with  ]io  sjiotless  charactei-,  and  imposes  the  conelnsion 
that  her  conniving  mother  ottered  no  ol)ji'ct  ions  to  the  life  winch 
iicr  daughter  has  led.  In  hi'ief.  the  omission  of  the  mother  was 
a  novelistic  element  which  the  coiiKdin  had  iiiliei-ited,  ;ind  as  long 
as  the  majority  of  plots  in  novel  and  play  alik'e  t\irned  on  seei'et 
intrigues  of  amorous  passion,  games  of  hide-and-seek,  honoriihh' 
or  othei-wise,  lackeys'  tricks  and  rendezvous,  the  mothei-  could 
]»]a>'  no  dignified  ]n)i-t  without  hringing  down  the  i)oel"s  scheme 
like  a  house  of  cards;  if  included  at  all,  she  natiirall\-  assumed 
a  rcle  hy  no  means  in  keeping  with  hei'  sacred  position  and  name. 
The  ahsence  of  the  mother  nuide  it  iin])erative  foi'  the  poet 
to  introduce  an  elderly  I'enude  who  would  lend  authority  to  this 
])ictui'e  of  society,  and  at  the  same  time  he  a  conceivahle  i)art 
of  the  plot.  We,  therefore,  havc^  either  the  aunt  or  simply  a 
charactei-  not  related  to  the  household,  ver\'  often  (le])icted  as  a 
^\•idow  and  partaking  also  of  the  chai'actei'  of  duentui  and  go- 
hetween.  That  the  lattei-  ])ersonage  existed  in  Spanish  society 
as  elsewhere  we  cannot  doul>t,  l>ut  everythinu  has  its  I'easonahle 
limits.  In  this  particular  case  we  are  once  more  (hiding  ^ith 
a  character  on  wliich  novelistic  and  draumtic  episodes  have  turne*! 
foi'  centuries  as  upon  a  main  axis,  and,  howevei'  much  |)oets 
ahuseil  the  type  and  distorted  the  actual  figure  of  I'eality  hy 
adding  the  traditional  touches,  copied  thiough  ceiduries  of  lit- 
ei'ary  inntation,  it  nevei'  lost  its  vogue  or  failed  to  orcui)y  a 
]>rominent  place  in  novel  and  theatre.  Spanish  literature  of  the 
Renascence  made  many  contrihutions  to  that  long  line  of  ahle 
females  beginning  with  the  old  hag  of  the  classics  and  runiuiig 
down  through  the  trota-conv(  nios,  the  ( 'elcst  inns  and  1  he  dueiimis. 
The  dutMina  especially  became  an  obsession  of  mnnerous  wi'iti'i-s 
of  the  Golden  Age,  who  set  her  up  as  an  omnipresent,  pei'vers.' 
social  manifestation,  and  so  found  a   jtretty   oppoit  unit\-  to  rail 


20  DHAMATIC  AllT  OF  LOPK   1)K   VF.GA 

;il  lu'i'  in  llif  licsl  litiTJifv  maiuii'i'.  In  llic  elderly  woman  of 
Lope's  ((DiKdld.  \\r  i\]\'  coiiseiiuent Iv  (lealiii^'  with  an  inheritance 
skillt'uilx-  iiiodilied  by  tlie  facts  and  made  acceptable  to  the  public 
by  his  incomparable  wit  and  graceful  verse. 

A  theatre-goer  of  Lope's  day  would  be  impressed  in  the  next 
place  by  the  numerous  figures  of  the  disguised  oi-  wandering 
damsel,  the  maiden  who,  deceived  or  abandoned  l)y  her  lover, 
hides  hei-  identity  under  the  gai'ments  of  a  servant,  a  slave,  or 
even  a  lackey  or  a  young  gallant.  This  is  a  puzzling  element  in 
Lope's  fornuda.  IIow  many  young  women  were  wandering 
through  Spain  or  the  streets  of  Spanish  cities  in  disguise?  Why 
did  the  i)ublic  accept  this  figure  in  its  never-ending  variety,  and 
why  was  it  copied  by  all  the  playwrights  of  the  seventeenth  cen- 
tury? It  cannot  be  explained,  unless  we  admit  that  a  whole 
audience  nuiy  become  hypnotized  by  a  literary  type.  That  the 
disguised  damsel  was  nothing  else  is  manifest  not  only  from  her 
great  age  in  fiction  and  legend  but  by  the  rather  unoriginal  way 
in  which  she  reappears  in  the  histor,y  of  the  comcdia.  Did  the 
spectators  find  in  the  contrast  between  the  restraints  and  limita- 
tions of  reality  and  the  freedom  of  fiction  a  kind  of  esthetic  or 
artistic  satisfaction  ?  I  have  searched  through  matter-of-fact 
books  and  documents  and  yet  never  ran  across  the  unrecogniz- 
able, disguised  maiden.  Does  not  Shakespeare  make  it  evident 
as  only  he  could  that  Viola  of  Tivelfth  Night  is  but  a  child  of 
his  poetic  fancy  ?  In  both  Lope  and  Tirso  examples  of  this 
disguised  damsel  are  fairly  common,  so  that  I  need  not  pick  out 
particular  characters,  nor  make  the  futile  effort  to  demonstrate 
that  she  must  have  been  a  common  occurrence  in  actual  society 
because  she  is  so  thoroughly  at  home  in  novel  and  comedia.  Yet 
to  be  fair  to  Lope  the  runaway  maiden  is  frequently  charmingly 
drawn  ;  she  shows  all  the  wit,  pathos,  and  poetry  with  which  his 
genius  was  so  abundantly  endowed.  On  one  occasion,  at  least,  in 
Mas  pueden  cclos  que  amor,  act  III,  scene  xiv.  Lope  appears  not 
only  to  regard  the  disguised  maiden  with  a  twinkle  of  fun  in  his 
eye,  but  to  admit  frankly  that  she  is  a  character  inherited  from 
books. 


DBAMATIC  AST  OF  LOPE  BE  VEGA  21 

Condc.  /^Habrause  en  el  nmndo  visto 

mujeres  que  disfrazadas 

hayan  hecho  extranas  cosas? 
Mendoza.     ^Quien  duda  que  han  sido  tantas 

que  han  oeupado  los  libros, 

y  de  la  fama  las  alas? 

Another  puzzling  feature  of  Lope's  stage  is  tlie  occasional 
presence  of  courtesans  of  the  better  class ;  these  stand  out  in 
glaring  contrast  with  the  refined  girl  hedged  about  by  all  the 
restraints  of  her  position.  This  feature  gives  rise  to  striking 
contrasts  in  stage  pictures  because  we  have  the  freest  morals 
by  the  side  of  seclusion  and  modesty.  In  this  type  of  woman, 
however,  Lope  combined  literary  imitation  witli  fact,  presenting 
to  us  vivid  local  color  in  poetic  guise.  He  unquestionably  had 
in  mind  now  and  then  the  type  of  woman  presented  with  great 
freedom  in  the  Celestina  literature,  and,  less  frequently,  that  of 
the  Italian  novelle,  mingling  with  this  imitation  a  study  of  local 
morals  and  customs. 

This  is  not  the  place  to  speak  at  great  length  of  tlie  manners 
of  the  Latin  capitals  of  the  Renascence,  especially  the  larger 
cities :  Paris,  Rome,  Madrid,  Seville  and  others.  But  a  few  words 
may  serve  to  throw  some  light  on  the  characters  of  the  go-between 
and  the  courtesan.  Most  accepted  narratives  of  moral  corruption 
are  always  to  be  discounted  to  a  certain  degree,  because  they  bear 
many  signs  of  exaggeration.  Innumerable  writers  have  indulged 
their  fancy  in  scandalous  tales  because  unsavory  morsels  have 
always  made  attractive  and  salable  reading.  Glaring  pictures 
of  incredible  freedom,  descriptions  of  the  immoral  life  of  the 
entire  society  of  a  city,  have  always  caused  an  agreeable  shud- 
der in  the  credulous  reader.  In  this,  novelistic  works  especially 
have  contributed  their  share,  and  the  modern  critic  forgets  that 
he  is  taking  highly  colored  entertainment  for  fact.  After  sifting 
all  the  evidence  and  building  rather  on  silent  archives  and  un- 
adorned history,  we  are,  to  be  sure,  face  to  face  with  a  condition 
unlike  anything  today.  Madrid  and  Seville  especially,  cities 
which  combined  many  cultures,  in  which  Roman  and  Moorish 
customs  dominated,  present  a  freedom  of  manners  excellently 


V 


22  ni;.\MATi('  Airr  of  lope  dk  vkga 

tU'picti'ti  in  some  of  Lope's  vivacious  sceiics.  The  existence  of 
slavery,  the  denioeratie  si>irit  of  the  servants,  the  (juest  of  sex 
wliieli  is  always  in  the  atmosphere,  the  limitations  of  a  society 
thrown  entirely  npon  its  own  resources  for  amusement  because 
I'estrietetl  connnunications  practically  isolated  it  from  the  rest 
of  the  world,  the  animation  of  street  life  developed  to  an  un- 
paralleled degree,  and,  finally,  the  unrestrained  nuinifestations 

-of  the  southern  temperament,  all  these  facts  and  many  more 
made  possible  the  presence  of  the  free  woman  and  gave  her  an 
established  prominence  in  life  and  in  art.  It  is,  therefore,  clear 
that  Lope  introduced  a  very  human  element  into  his  comcdia. 
But  the  remarkable  fact  remains  that  he  presented  this  side  of 
life  Math  an  unusual  delicacy  of  touch.  Since  comparisons  are 
often  helpful,  it  is  interesting  to  point  out  how  much  cleaner 
and  purer  he  has  kept  his  tone  than  the  Elizabethan  and  Ja- 
cobean dramatists  did  in  England,  for  these  latter  often  sink 
into  unspeakable  depths  of  filth  and  indecency.    Lope's  art  con- 

'  sciously  sought  to  attain  a  high  level  in  its  moral  tone,  for  which 
we  also  owe  a  debt  of  gratitude,  however  slight,  to  the  official 
censor,  who  protected  public  morals  from  the  evils  of  literature. 
In  short,  we  are  dealing  with  a  condition  common  to  Latin  society, 
and  reaching  far  back  into  the  classical  age,  which  prohibited  the 
virtuous  maid  from  taking  part  in  the  social  gatherings  of  men, 
and  so  brought  about  the  substitution  of  the  courtesan.  The 
latter  combined  with  her  freedom  of  manners  beauty  and  clever- 
ness, and  became  in  life  a  visible  part  of  society,  and  in  literature 
the  admitted  companion  of  men. 

Among  the  novelistic  characters  to  whom  Lope  has  given 
traits  of  endless  variety  and  originality  is  the  young  gallant, 
spirited,  alive  and  consequently  full  of  action.  The  type  k  not 
distinctively  a  Spanish  creation,  for  we  find  him  in  all  literature 
of  the  Renascence;  he  is  prominent  in  novel  and  memoir,  but 
especially  on  the  stage,  where  his  dashing  qualities  give  him  the 
first  place.  Yet  in  the  comedia  of  Lope  he  seems  to  me  to  sur- 
pass all  others  on  account  of  the  astounding  diversity  given  to 
his  speech,  his  moods,  his  impulses,  his  whims,  his  virtues  and 


DRAMATIC  ABT  OF  LOPE  DE  VEGA  23 

his  follies.  Logically  a  character  all  action  must  have  a  foil, 
and  so  Lope  set  by  his  side  another  traditional  figure  which  he 
presents  with  no  less  variety,  the  attending  servant  or  lackey-.  ' 
This  inseparable  appearance  of  master  and  servant  easily  be- 
comes dull  and  mechanical  in  the  hands  of  an  inferior  genius, 
and  so  betrays  the  fact  that  we  are  dealing  with  a  stage  device 
rather  than  a  common  phenomenon  of  human  society.  Lope  . 
has  managed  to  put  into  the  servant  the  unbounded  resources 
of  his  wit  and  made  him  one  of  his  chief  claims  to  rank  among 
the  world's  great  comic  playwrights.  The  reason  for  the  ex- 
istence of  a  companion  for  the  gallant  derives  chiefly  from  his 
appearance  in  centuries  of  novel  and  drama.  He  was  necessary 
to  the  plot  and  assumed  diverse  forms,  such  as  that  of  advising 
friend,  guardian,  ayo,  teacher,  but  especially  that  of  servant, 
slave  or  lackey.  On  comparing  Lope's  gallant  with  all  the 
types  which  preceded  him  we  find  how  much  this  versatile  play- 
wright improved  his  literary  models,  how  he  managed  to  make 
a  dangerously  stereotyped  character  alive.  How  he  succeeded 
in  creating  a  never-ending  series  of  comic  scenes  involving  master 
and  servant  will  always  appear  a  miracle  of  invention.  Indeed, 
he  has  so  accustomed  his  reader  to  look  for  these  witty  scenes' 
that  any  play  without  them  causes  genuine  disaj^pointment. 

But  let  us  see  to  what  extent  the  servant  is  an  invention  of 
Lope's  mind.  Real  life,  as  contrasted  with  literature,  reveals 
the  presence  of  the  commonplace  rather  than  the  witty  servant, 
and  in  Spanish  society  no  doubt  could  be  found  numerous  ex- 
amples of  the  attending  maid  servant,  the  slave,  the  lackey,  the 
lady's  escudero  and  the  rest.  But  we  are  now  dealing  with  a 
personage  endowed  with  far  more  than  the  average  traits.  The 
latter  are  not  conceivable  as  dramatic  possibilities.  Even  the 
average  literary  models,  the  servant  that  can  be  bribed  or  won 
over,  the  serious  guardian,  the  grave  aijo,  the  sentimental  com- 
panion, or  the  mixture  of  messenger  and  go-between,  these  and 
others  would  have  failed  to  add  the  vivacious,  living  touch  neces- 
sary in  plots  based  almost  entirely  on  action.  Lope,  therefore,  V 
conceived  a  character  to  the  flexibility  of  which  there  are  no 


24  III:. iM. trie  aut  of  i.opk  df.  ifca 

l)OUiuls.  His  alti'iulinfi^  sci'vanls  ciubracc  oveiy  conceivable 
(|uality:  tlicy  arc  slirewd  and  witty  advisors,  they  invent  tricks 
and  discover  remedies,  they  overcome  obstacles,  they  are  full  of 
delightful  saws,  they  draw  on  a  vast  amount  of  human  experi- 
ence, they  are  filled  with  ready  informatioji,  and  not  infrequently 
with  substantial  learning  and  classical  instances,  they  are  loyal, 
devoted  and  self-sacrificing  friends,  they  may  even  be  excellent 
/  philosophers,   they   represent    in   tlie   most   coiiii)rehensive   sense 

'y  the  perennial  resourcefulness  of  Lope's  own  gifts.  And  all  this 
•  is  true,  although  to  a  much  lesser  degree,  of  the  cn'ada  wlio  at- 
tends the  heroine. 

In  this  very  fullness  and  completeness  of  mental  traits  in 
~~1  the  servant  lies  one  of  his  chief  defects,  and  we  quite  naturally 
ask  ourselves  how  likely  it  was  that  such  attendants  or  lackeys 
existed  anywhere  outside  of  Lope's  fertile  brain.  Readers  of 
the  comedia  get  the  impression  that  innumerable  gallants  walked 
the  streets  of  the  Spanish  cities  and  that  each  was  favored  by 
heaven  with  a  servant  in  some  way  extraordinarily  endowed.  If 
we  may  consider  the  best  part  of  this  figure  as  Lope's  creation 
we  are  nevertheless  dealing  with  an  inherited  type  modified  by 
the  demands  of  the  stage  into  a  personage  to  whom  his  genius 
gave  the  breath  of  life.  It  is  apparent  that  he  kept  actual  ser- 
vants and  lackeys  sufficiently  in  mind  to  make  his  own  characters 
acceptable  possibilities.  They  are  alive,  even  if  they  move  in 
what  seems  now  and  then  an  imagined  form  of  society,  raised 
above  actual  life,  just  as  was  their  poetic  speech  above  the  prose 
of  common  day.  They  are  alive  because  Lope  borrowed  with 
consummate  skill  the  color,  the  movement,  the  kaleidoscopic  ani- 
mation of  the  world  about  him,  giving  his  handiwork  Avarm  blood 
and  poetic  existence. 

I  do  not  presume  to  mention  all  the  characters  of  Lope's 
plays  which  would  ordinarily  find  a  place  in  this  discussion ; 
I  shall  limit  myself  to  giving  a  few  more  which  may  be  of  interest 
to  the  reader.  They  are  the  father,  occasionally  replaced  by  the 
uncle,  as  the  aunt  so  frequently  took  the  place  of  the  mother. 
Here  Lope  again  exceeds  mere  tradition,  betraying  in  these  per- 


DIIAMATIC  ABT  OF  LOPE  BE  VEGA  25 

sonages  a  more  pains-taking  observation  of  current  nuinners. 
Indeed,  some  of  his  old  men  are  amongst  the  greatest  creations 
of  his  stage.  To  one  traditional  figure — the  rich,  old  suiter  who 
bases  his  advances  on  the  power  of  gifts  and  gold — Lope  has  given 
an  original  turn  by  presenting  him  in  the  guise  of  a  familiar, 
contemporary  charactei-,  the  IndianOjOv  nabob.  The  novelty  and 
romance  which  attached  to  an  adventurer  returning  from  tlie 
Indies  laden  with  i-iches  and  boasting  of  strange  experiences 
made  a  fruitful  addition  to  the  dramatic  possibilities  of  the 
comedia,  and  Lope  could  scarcely  fail  to  give  him  on  the  stage 
all  the  interest  he  awakened  in  real  life.  He  is  a  part  of  the 
adventure  element  of  the  comedia,  and  takes  his  position  by  the 
side  of  the  soldier  who  returns  from  campaigns  in  Flanders  oi- 
Italy,  that  much  traveled,  wandering  pei'sonage  who  injects  into 
every  plot  new  elenunits  of  intrigue,  trickery  and  romance. 

In  speaking  of  the  influence  of  inheritance  and  tradition 
upon  the  characters  a  word  must  be  said  about  the  poetic  nomen- 
clature of  the  dramatiijpersqnae.  We  deal  here  with  one  of  the 
stereotyped  features  which  characterizes  not  only  the  Spanish 
drama  of  the  Golden  Age  but  the  whole  Renascence  drama  every- 
where. The  reason  for  the  existence  of  these  stereotyped  names 
is  not  far  to  seek :  they  were  adopted  under  the  influence  of  the 
fiction  sources  of  the  drama,  coupled  with  the  exigencies  of 
dialogue  in  verse.  They  seem  especially  suitable  in  a  drama 
which  is  not  entirely  an  image  of  contemporary  conditions,  l)ul 
the  picture  of  an  idealized  form  of  society.  Lope  presented  on 
the  stage  between  seventeen  thousand  and  twenty  thousand  char- 
acters, for  whom  he  devises  a  surprisingly  wide  range  of  names. 
Their  drawback  will  of  course  always  be  their  inevitable  repe- 
tition, and  the  reader  is  sometimes  hopelessly  lost  in  the  long 
lists  of  Dorotea,  Teodora,  Belisa,  Fenisa,  Feniso,  Finea,  Fineo, 
Laurencia,  Laurencio,  Turin,  Chapin,  Batin,  Cliacon,  and  end- 
less scores  of  others.  They  form  one  of  the  elements  of  Lope's 
art,  which  has  grown  pale,  but  which  we  uuist  leai'ii  to  endui-e 
as  an  inoffensive  feature  of  the  poetic  language  of  the  cotnedia. 


DlxAMATIC  Airr  OF  LOVE  T)E   VEGA 


'IXJIKRITAXCE  AND  TRADITION  MANIFP^ST  IN  SPECIFIC  TRAITS 
OF  LOPE'S  PLOTS 

The  rapidity  of  action  which  characterizes  practically  all  of 
Lope's  plays  has  been  touched  upon  above  and  will  be  discussed 
in  connection  with  the  chief  features  of  his  dramatic  technique. 
At  this  point,  however,  it  leads  me  to  draw  attention  to  the  in- 
evitable result  of  constant  forward  motion  in  the  plot.  Psycho- 
logical changes  due  to  meditation,  delay  and  repose  are  replaced 
in  the  majority  of  cases  by  stage  devices  of  an  external  character, 
novelistic  episodes,  striking  theatrical  effects  admirably  conceived 
to  surprise  the  spectators,  by  impulses,  whims  and  passions  which 
do  not  represent  any  spiritual  growth  in  the  characters.  One 
of  the  excellent  traits  of  Lope  in  this  connection  is  his  self- 
restraint,  the  manner  in  which  he  lias  refrained  from  overdoing 
this  side  of  his  dramatic  formula.  Critics  of  past  generations, 
having  taken  for  a  starting  point  the  work  of  Calderdn,  who  used 
all  these  features  with  more  mechanical  skill  than  Lope  and  per- 
fected his  technique,  at  times  to  the  point  of  rigidity,  have  seen 
fit  to  include  Lope  in  their  schemes  of  classification,  and  made 
him,  because  of  these  outward  signs,  a  romantic  dramatist.  This 
is  misleading  and  inadequate,  because  no  other  fact  stands  out  so 
clearly  after  a  prolonged  reading  of  his  plays  as  this,  that  it  is 
impossible  to  find  any  pigeonhole  into  which  his  vast  genius 
can  be  compressed.  The  spirit  of  his  art  has  a  thousand  windows 
and  permits  the  reader  to  look  upon  a  wide  range  of  human 
activities ;  it  shows  a  comprehension  of  all  that  goes  on  in  the 
hearts  and  brains  of  men,  of  which  romantic  dramatists  and  even 
Calderon  had  an  inadequate  conception.  His  gift  of  invention 
was  so  enormously  taxed  that  it  had  to  make  concessions  to 
literary  and  academic  traditions  in  certain  elements  of  his  plot 
material  which  do  not  represent  profound  aspects  of  human 
life ;  therefore  critics  have  singled  out  these  external  traits  and 
branded  them  as  signs  of  the  romantic  drama.     The  fact  is  that 


BE  AM  AT  IC  ABT  OF  LOPE  BE  VEGA  27 

Lope  has  romantic  feat^ires  as  he  has  characteristics  of  every 
school,  if  one  chooses  to  search  them  out,  but  more  light  is  thrown 
upon  his  art  if  they  are  considered  only  from  the  point  of  view 
of  his  own  day  and  treated  as  accepted  elements  of  an  inheritance 
which  he  received  in  common  with  the  whole  Renascence. 

"What  are  some  of  these  tangible  outward  stage  devices  or 
plot  episodes?  They  are  those  which  novel  and  drama  have 
assimilated  practically  the  w^orld  over.  Indeed,  some  of  tliem 
have  their  roots  in  folk-lore  themes  and  are  as  old  as  the  imagi- 
nation of  man.  Lope  used  them  in  his  usual  impressive  manner, 
giving  them  a  novel  turn  again  and  again.  Among  them  are 
disguises  of  all  kinds :  women  as  men  and  less  frequently  the 
other  way  about,  maidens  as  servants,  doctors  or  even  college 
professors,  deceptions,  feigned  relationships,  lies  ranging  from 
white  to  black,  incredible  experiences  and  adventures  exempli- 
fying the  delightful  saying  de  luengas  vias  luengas  mentiras,  the 
substitution  of  one  person  for  another,  concealments  which  lead 
to  comic  or  tragic  ends  and  many  other  novelistic  motifs.  Among 
the  common  devices  which  help  the  plot  forward  are  the  bribery 
of  servants,  the  exchange  of  the  usual  lover's  tokens  such  as 
handkerchiefs,  letters,  rings,  messages  and  the  like.  The  tricks 
employed  to  open  a  conversation,  to  obtain  an  interview  or  send 
a  bit  of  news  include  such  methods  as  opportune  stumbling  and 
falling  on  the  part  of  the  girl,  the  lover  hastening  to  extend  a 
helping  hand ;  the  use  of  the  holy  water  font  at  church,  where 
a  glove  or  letter  may  be  left ;  the  traditional  entrance  into  the 
girl's  house  of  the  vendor  of  knickknacks  or  ladies'  articles  of 
apparel,  a  personage  who  goes  back  to  the  institor  of  the  classics, 
and  the  trota-conventos  of  early  Renascence  literature ;  and  the 
protected  rendezvous  carried  out  under  the  aegis  of  some  servant, 
friend,  or  relative.  Possible  meeting  places  are  of  course  limited 
to  accepted  custom,  the  most  common  being  the  streets  or  public 
promenades,  or  the  reja  of  the  woman's  house,  if  the  lovers  or 
interlocutors  are  unobserved.  Servants  are  not  as  a  rule  consid- 
ered intruders.  Next  in  importance  is  the  church,  to  which 
every  woman  would  repair  daily  as  surely  as  the  sun  rises  in 


28  I ) II. \ MA  TIC   Airr  OF   I.Ol'F.    DE    IF.C.A 

the  inoniiiiti-.  Krt'(|U('iit ly  iiiiis  arc  .successful  lucctiiig'  places. 
Tlic  unlii-iaidctl  cut raiirc  of  the  lover  into  the  very  room  of  the 
Itclovcd  iHa\-  he  taken  as  an  amusing,  although  arbitrary,  breach 
of  custom  on  the  part  of  the  poet,  since  it  is  always  greeted  by 
an  exclamation  of  fear  and  disapproval  on  the  part  of  the  girl. 
As  a  jnirely  novelistic  episode  it  is  an  inheritance  out  of  the 
classics,  for  we  may  recall  that  Ovid  advises  the  lover  to  make 
it  one  of  his  principles  to  force  his  way  into  the  woman's  house 
if  possible,  a  principle  made  use  of  especially  by  the  Italian 
novel.  The  proximity  of  the  houses  of  the  lovers,  the  possible 
signs  exchanged  from  balconies,  were  no  doubt  applicable  to 
local  conditions,  but  are  none  the  less  common  to  all  novels  deal- 
ing with  episodes  of  life  in  cities. 

We  are  bound  to  view  any  great  liberty  of  action  on  the  part 
of  young  women,  who  are  otherwise  depicted  as  refined,  and 
educated  according  to  the  retired  position  occupied  by  the  aver- 
age mother  and  daughter,  as  a  stage  device  by  which  the  poet 
broadened  the  actual  conditions.  In  those  female  personages 
who  show  independence  of  both  thought  and  action  Lope  pre- 
sented characters  and  conditions  which  gave  his  wit  freer  play 
than  colorless  reality ;  he  entertained  his  audience  by  means  of 
a  picture  frankly  intended  as  an  exception  rather  than  the  rule. 
This  is  one  of  the  features  which  makes  certain  writers  voice 
'their  enthusiasm  over  the  lifelike  descriptions  of  Spanish  morals 
and  customs  to  be  found  in  the  comcdia,  but,  as  I  already  stated 
above,  their  assertions  seem  based  on  statements  and  pictures 
whicli  in  tlieir  turn  are  founded  on  inferences  drawn  from  these 
very  plays.  As  an  argument  this  procedure  involves  lis  in  a 
vicious  circle,  the  probability  being  that  in  this  whole  matter 
we  are  dealing  with  another  clever  fusion  of  fact  and  fiction. 

Considering  the  Avide  range  of  poetic  license,  it  is  futile  to 
criticize  Lope  for  occasionally  reducing  the  whole  world  to  a 
small  stage.  Thus  the  mention  of  a  personage  living  far  away 
may  prompt  some  one  present  to  claim  him  as  a  relative,  friend 
or  acquaintance.  This  theme  of  universal  acquaintanceship  is 
a  part  of  the  artistic  formula  which  found  no  obstacles  in  dis- 


VBAMATIC  AET  OF  LOPE  DE   V E<iA  29 

tances,  and  took  for  granted  that  the  imagination  of  the  specta- 
tors was  equal  to  any  rapidity  of  action,  to  a  flight  over  any 
distance,  or  to  a  removal  to  any  place.  The  devices  according 
to  which  characters  in  localities  widely  apart  are  known  to  one 
another  are  thoroughly  accepted  as  stage  possibilities,  and  are 
necessary  to  connect  scenes  in  plots  which  rejected  tlie  unity  of 
place,  and  wiiich  are,  after  all,  only  a  mixture  of  reality  and 
fancy.  In  connection  with  this  fusion  and  the  presence  of  in- 
evitable artificial  elements  not  only  in  the  Spanish  but  in  every 
national  drama,  we  are  apt  to  overlook  that  a  detailed  study  of 
life  in  the  European  capitals  at  the  period  under  consideration 
makes  evident  a  number  of  truths  concerning  human  existence 
widely  differing  from  the  facts  of  modern  city  life.  The  ab- 
sence of  newspapers,  of  communication  with  the  outer  world  to 
which  I  referred  above,  the  lack  of  all  modern  inventions,  gave 
vast  importance  to  the  arrival  and  departure  of  all  mail,  to 
messengers  and  couriers ;  it  increased  the  carrying  power  and 
vitality  of  gossip,  conceding  undue  prominence  to  all  local  occur- 
rences, however  slight,  to  scandals,  accidents,  rumors,  placards, 
pamphlets,  letters  and  the  like.  Therefore  individuals  dependent 
upon  their  own  resources  lived  a  life  measured  by  standards 
wholly  different  from  our  OAvn.  We  may  thus  assume  it  to  be 
extremely  likely  that  individuals  in  families  of  reasonable  prom- 
inence were  M-idely  acquainted  among  the  inhabitants  of  the 
same  city. 

But  city  life,  however  circumscribed,  can  never  be  dominated 
by  an  artificial  formula  in  every  phase  or  level  of  society.  Even 
formal  court  manners  have  never  meant  that  a  whole  city  led 
an  existence  of  pure  etiquette.  The  court  life  of  monarch  and 
aristocrats  maintained  its  course  on  one  side  of  a  cleavage,  on 
the  other  side  of  which  the  masses  of  the  people  pursued  their 
sane  and  commonplace  ways.  It  must  have  been  so  with  the 
society  of  the  Phillips,  or  the  actual  Spanish  world  would  never 
have  survived.  It  seems  more  critical  to  accept  with  many  quali- 
fications the  peculiar  point  of  view  which  makes  the  artificial 
traits  found  in  the  comedias  of  the  seventeenth  century  a  mirror 


30  DL'.lM.lTfC   AUT  OF  LOPK   DK   VEGA 

of  reality.  'I'liis  coiicliisioii  is  hardly  borne  out  by  objective 
(loenineiits  (lealiuf?  with  faets.  The  vast  majority  of  the  Spanish 
men  and  woiiien  who  lived  during  the  reign  of  the  Phillips  did 
not  constitute  an  unnatural  or  a  non-moral  community :  they 
were  a  mass  of  sound  beings  with  red  blood  antl  sane  thoughts. 
Yet  we  read  of  vogues  in  di-ess,  for  example,  and  imagine  the 
whole  Spanish  people  pursuing  the  idle  fashion  of  a  Walloon 
collar  or  a  round-toed  shoe ;  we  are  told  of  rascals  and  picaros 
in  the  streets  of  Spain,  and  so  believe  that  every  city  swarmed 
with  them ;  w'e  are  impressed  by  theatrical  duels,  and  therefore 
imagine  that  the  streets  rang  at  night  Avith  the  clashing  of  swords, 
and  we  visualize  the  processions  of  alguacilcs  dragging  culprits 
to  prison  ;  we  recall  the  intriguing,  adventure-seeking  career  of 
certain  young  women,  but  fail  to  remember  that  the  cities  were 
full  of  virtuous  girls  living  the  normal,  secluded  life.  We  have 
heard  repeatedly  of  the  severities  of  the  Inquisition,  and  picture 
Spain  tormented  by  a  blind,  inhuman  tribunal.  Contemporary 
criticism  of  the  actions  and  usages  of  human  society  are  worthy 
of  the  most  careful  scrutiny,  but  they  are,  it  must  be  remembered, 
almost  invariably  aimed  at  abuses,  misguided  efforts  and  sporadic 
follies,  and  not  at  normal  conditions.  A  playwright  may  draw 
certain  pictures  of  society  on  the  admitted  principle  that  a  comic, 
a  pathetic,  or  a  tragic  scene  need  not  be  taken  as  a  direct  criti- 
cism or  a  fixed  image  of  contemporary  life.  In  short,  it  is  a 
question  of  the  balance  he  may  strike  between  the  artistic  formula 
and  the  formula  of  actual  human  life.  The  dramatic  poet  may 
put  on  the  stage  episodes  or  events  not  because  he  considers  them 
.frequent  occurrences,  but  isolated  happenings  worthy  of  recorcl. 
This  is  especially  so  with  tragedy.  The  conclusion  drawn  from 
an  Oedipus  Tyrannus  is  not  that  this  character  or  his  career  is 
a  common  occurrence ;  Electra  is  a  unique  creation  of  the  poetic 
mind.  We  cannot  infer  from  Shakespeare's  art  that  the  world 
lis  full  of  foolish  old  men  like  King  Lear,  w'ho  divide  their  prop- 
[erty  according  to  the  hollow  protestations  of  love  made  by  their 
daughters.  How  many  Macbeths  or  Othellos  or  Falstaffs  are 
there  ?    Descending  into  the  realm  of  comedy,  the  principle  holds 


BEAM  AT  IC  AFT  OF  LOPE  BE  VEGA  31 

with  a  somewhat  wider  range  of  application.  Specific  events 
of  common  life  are  duplicable,  but  successive  series  of  artificial 
combinations  very  rarely  so,  and  that  only  when  we  are  dealing 
with  arbitrary  modifications  of  local  customs  or  literary  imitation 
and  inheritance. 

Of  poetic  abuses,  artificial  or  stereotyped  language,  of  the 
speech  of  love,  courtship  and  intrigue  I  shall  write  "below,  as 
that  demands  a  special  chapter.  Having  mentioned  devices  of 
plot  and  elements  of  plot-content,  a  few  additional  words  will 
suffice  touching  upon  the  repetition  or  limitation  evident  in  the 
range  of  thought  of  the  personages,  a  quality  to  be  attributed 
not  only  to  the  rapidity  of  action  which  hinders  a  philosophic 
treatment  of  life  but  to  Lope 's  artistic  formula  in  general,  which . 
is  devoted  to  an  infinite  number  of  combinations  of  the  themes  1 
of  love,  jealousy  and  honor.  Lope  undoubtedly  recognized  the 
inadequacy  of  this  formula  when  applied  to  the  fullness  of  human 
activities,  and  notably  in  his  tragedies  he  knew  how  to  descend 
to  the  depths  of  all  emotions  which  may  stir  the  heart.  A  dis- 
cussion of  the  variety  of  motive  forces  in  his  mighty  themes  of 
self-sacrifice,  duty,  infidelity,  revenge,  his  highly  diversified  pic- 
tures of  inner  struggles  can  hardly  find  room  within  the  scope 
of  this  essay,  and  the  reader  will  be  best  rewarded  by  studying 
them  in  Lope  himself.  Of  the  prominent  tliemes  of  love  and 
jealousy  little  need  be  said.  No  other  poet  of  the  world's  liter- 
ature has  sounded  their  sombre  depths  more  skillfully ;  no  one 
has  given  them  more  graceful,  witty  or  humorous  turns  and 
definitions,  or  presented  them  in  more  different  moods. 

But  we  must  dwell  a  moment  upon  the  theme  of  honor,  ex- 
panded into  a  veritable  code  which  dominates  all  other  senti- 
ments. It  was,  like  few  other  dramatic  motives,  the  happy  hunt- 
ing ground  for  every  dramatist.  Much  has  been  written  about 
it,  and  it  is  therefore  trite  to  add  a  disquisition  on  the  Spaniard's 
character,  showing  that  he  was  "jealous  in  honor,  sudden  and 
quick  in  quarrel."  Indeed,  we  know  from  formal  works  on  the 
subject  that  there  were  well  defined  grades  of  grievances,  affronts 
and  insults,  as  there  were  also  principles  governing  the  amends 


32  DL'AM.iriC  Airr  OF  UU'K  DK   VEGA 

\\liicli  could  he  t'xactcd.  In  other  words,  the  Si)aiiiard  is  pre- 
sented as  metieulous  in  all  niatteis  concerning  his  honor.  But 
so  were  all  peoples  of  the  South:  the  Greeks,  the  Italians,  and 
the  French.  E]ven  the  colder  northern  races  rehearse  this  tradi- 
tional theme  in  novel  and  drama  ;  its  effectiveness  was  so  apparent 
that  it  was  seized  and  repeated  for  decades  on  eveiy  stage.  Is 
it  therefore  a  specifically  Spanish  theme,  or  is  it  not  the  fact 
that  the  Spaniards  have  merely  written  moi-e  and  more  impres- 
sively about  it?  After  comparing  a  great  many  writers  and 
plays,  I  find  that  the  treatment  of  honor  is,  to  no  small  extent, 
a  matter  of  formal  phraseology,  together  with  constant  imitation 
and  copying  which  gave  unoriginal  minds  a  welcome  opportunity 
to  deal  with  a  lofty  subject.  Consequently  the  reader  will  fre- 
f(uently  come  across  a  stilted  disquisition  on  honor  in  the  liter- 
ature of  the  Renascence,  which  is  generally  in  keeping  wdth  an 
accepted,  contemporary  point  of  view. 

To  resume,  no  analysis  of  the  elements  of  Lope's  formula, 
which  I  have  just  treated,  can  be  as  illuminating  as  his  own 
woi'ds,  for  he  has,  after  all,  an  inimitable  way  of  describing  the 
world  which  his  fancy  has  set  up.  The  traditional  lines  along 
which  so  many  of  his  plots  move  are  best  given  in  the  following 
verses: 

Fenisa.  iQue  mancebo  me  pasea 

destos  que  van  dando  el  talle? 

I,  Que  guijas  desde  la  calle 

me  arroja,  porque  le  vea? 

I  Que  sefia  me  has  visto  hacer 

en  la  iglesia?     ^Quien  me  sigue, 

que  a  estar  celosa  te  obligue? 

^Que  vieja  me  vino  a  ver? 

^Que    billetes    me    has    hallado 

con  palabras  deshonestas? 

jQue  pluma  para  respuestas, 

que  tintero  me  has  quebrado? 

I  Que  cinta,  que  no  sea  tuya 

o  comprada  por  tu  manof 

^  Que  chapin,  que  toca? 
Belisa.  En  vauo 

quieres  que  mi  honor  te  arguya. 

— La  discrcta  Enamornda. 


DBAMATIC  ABT  OF  LOPE  BE  VEGA  33 

Or  the  following: 

Hernando.  ;,  Quien  ha  heeho 

milagro  tan  notable  en   tu   sentido? 
Lacindo.  La  confianza  de  que  soy  querido. 

jBendiga  el  cielo  la  invencion,  la  traza, 

la  bora,  el  movimiento,  el  manto,  el  Prado, 

los  celos,  los  disgustos! 
Hernando.  Y   ^no   dices 

que  bendiga  tanibien  a  Estefania  ? 

— La  discreta  Enamorada. 


DUAMATIC  Airr  OF  LOPF.    DF    ]FGA 


AirriFKIAL   DKVKIvS    IX   THE    TECIIXK^rK:    BALANCE,  THE 

])UPLr("ATION  OF  GROUPS  OR  COMBINATIONS 

OF  PERSONAGES 

111  speakiiig  above  of  certain  characters  in  Lope's  corned ia 
who  may  be  considered  as  taken  in  part  from  tradition,  l)ut 
modified  by  the  poet's  art,  I  gave  one  of  the  prominent  places 
to  the  yonng  gallant  and  his  servant,  and  to  the  heroine  or  dama 
with  her  attendant,  combinations  or  pairs  repeated  in  infinite 
ways  and  presented  in  such  a  manner  that  we  cannot  conceive 
either  master  or  servant  existing  without  the  other.  We  now 
go  one  step  further  and  examine  the  artificial  result  obtained 
by  balancing  these  pairs  one  against  the  other.  This  devicfe 
has  already  been  spoken  of  by  writers  on  the  comedia,  and  its 
unnatural  character  condemned.  It,  therefore,  requires  a 
defence  or  an  explanation  only  if  we  cling  to  the  untenable  idea 
that  everything  in  the  comedia  reflects  real  life.  But  if  we 
keep  in  mind  certain  wholly  artistic  elements  of  Lope's  stage, 
and  get  his  own  point  of  view  on  the  dramatic  interaction,  the 
theatrical  effectiveness  of  these  games  of  duplication,  we  shall 
find  in  them  a  conscious  development  of  infinite  possibilities  in 
situation,  humor  and  comic  confusion.  It  is  apparent  that  the 
servant  may  not  only  duplicate  the  master's  love  affair  (see, 
for  example,  el  Ac  era  de  Madrid,  Act  III,  scene  vii)  but  he  may 
also  find  himself  involved  in  the  same  predicament  as  his  em^ 
ployer  and  frankly  burlesque,  by  the  absurdity  of  his  own  situ- 
ation, the  mock-serious  plight  of  his  master.  These  possibilities 
Lope  recognized  as  a  source  of  comedy,  and  occasionally  a  ser- 
vant makes  plain  the  object  of  this  invention.  Thus  Fisberto  in 
el  Ausente  en  el  Lugar  tells  us: 

Sabina,  ya  tu  sabes  que  danzamos 
los  criados  al  son  de  nuestros  dueiios. 
El  vuelve  a  Elisa,  y  yo  me  vuelvo  a  Paula; 
Dios  sabe  que  me  pesa., 


DEAMATIC  ABT  OF  LOPE  DE  VEG. 


35 


And  in  los  Comendadores  de  Cordoba,  the  servants,  we  are  told, 
must  duplicate  the  relationship  between  master  and  mistress: 

Luego,  donde  uu  amo  honrado 
tiene  alguna  j)rima  honrada, 
^no  viene  a  ser  la  criada 
la  prima  de  su  eriado? 

Were  it  not  for  lack  of  space  many  examples  of  amusing  situa- 
tions and  witty  dialogues  arising  from  this  invention  might  be 
given.  A  single  one  will  suffice.  In  el  Ausente  en  el  Lugav 
Carlos  tries  to  make  Elisa  believe  that  he  is  obliged  to  absent 
himself  while  in  reality  he  does  not  leave  town.  Esteban,  the 
servant  of  Carlos,  has  in  the  meantime  agreed  to  have  a  ren- 
dezvous with  Paula,  Elisa 's  servant,  and  the  following  comic 
scene  takes  place  : 

Estehan.        "'    ^Que  es  lo  que  habemos  de  liaoer? 
Carlos.  ^No  dices  que  has  coucertado 

hablar  con  Paula? 
Esteban.  He   pensado 

que  te  podran  conocer. 
Carlos.  No  haran:    que  estare  escondido; 

aunque  niucho  mejor  fuera 

que  yo  ser  tii  nie  fingiera, 

J  hablara  a  Paula  atrevido. 
Esteban.  |  No  podre  decirle  yo 

lo  que  tu  le  has  de  deeir? 
Carlos.  No  lo  sabras  tii  sentir. 

|Abri6  la  ventana  ? 
Esteban.  Abrio. 

Carlos.  Apartate,  como  que  eres 

yo,  que  estoy  alii  arrimado. 
Esteban.  Habla  como  yo,  embozado, 

ya  que  ser  lo  que  soy  quieres.     {Embozanse.) 
(Elisa  y  Paula,  que  salen  a  una  ventana.     Carlos  y  Esteban, 

en  la  calle  embosados.) 
Eliza  I  Aqui  dijo  que  vendria 

Esteban  a  hablarte  agora? 
Paula.  Esto  me  dijo,  Seiiora, 

hoy;  que  le  hable  a  mediodia. 
Eliza  Gente  a  nuestra  puerta  veo. 

Que  soy  tu  quiero  fiiigir. 
Paula.  ;  No  le  sabre  yo  decir 

lo  que  til  tienes  deseo? 


36  Dn.tMJTic  Airr  of  i.ope  nr:  ve(;a 

Eliza  Desviate;  que  ya  llej^a. 

^Es  Esteban? 
Carlofi.  Y  tu  acaso 

eres  Paula  ? 
Elisa.  (Ap. )  jExtrafio  catso! 

jOli  cuanto  amor  ])ue<le  y  ciega! 

En  la  voz  he  conocido 

a  Carlos. 
Carlos.  (Ap.)  Elisa  es  esta; 

(|ue  la  yo7.  lo  nianifiesta, 

auiKjue  la  voz  lia  fingido. 

Tlio  lovers  now  (iuai-ri4  and  the  rest  of  this  scene  as  well  as  tlie 
subsequent  ones  are  among  the  best  comedy  that  we  have  from 
Lope's  pen.  For  another  example  of  this  humorous  balance  see 
Act  I,  scene  viii,  of  this  play.  Technically  the  close  interinflu- 
ence  of  master  and  servant  has  the  drawback  of  making  them 
too  dependent  upon  one  another,  their  exits  and  entrances  ai"e 
generally  simultaneous,  and  the  individuality  of  one  overlaps 
that  of  the  other.  But  it  is  an  element  of  Lope's  formula  to 
wliich  one  grows  accustomed  as  one  does  to  a  peculiarity  of  a 
great  painter,  and  the  fact  remains  that  the  servant  has  not 
deteriorated  into  a  mechanical  attendant  as  in  the  hands  of  less 
ingenious  playwrights. 

The  juxtaposition  on  the  stage  of  groups  or  pairs  of  person- 
ages is  logically  accompanied  by  a  duplication  in  situation.  Of 
this  many  examples  could  be  cited,  but  an  excerpt  or  two  must 
suffice  to  illustrate  this  phenomenon  introduced  by  Lope  into 
both  tragedy  and  comedy.  In  d  Castigo  sin  Vcnganza  the  car- 
riage which  brings  Casandra  and  her  attendant  has  been  over- 
turned at  the  crossing  of  a  stream  ;  both  are  rescued  by  Federico 
and  his  servant : 

SaU  Federico  con    Casandra    en   las   hrazos 
Federico.       Hasta  poneros  aqui, 

los  brazos  nie  dan  licencia. 
Casandra.      Agradezeo,  caballero, 

vuestra  muclia  gentileza 
Federico.       Y  yo  a  mi  buena  fortuna 

traerme  por  esta  selva, 

casi  fuera  de  oamino. 
Casandra.      ^  Que  gente,  Seiior,  es  esta? 


DRAMATIC  AUT  OF  LOPE  BE  VEGA  37 

Federico.       Criados  que  me  acompanaii. 

No  tengais,  Senora,  pena: 

todos  vienen  a  serviros. 

Sale  Batin  con  Lucrecia  en  los  irazos 
Batin.  Mujer,   dime,   |c6mo  pesas, 

si  dicen  que  sois  livianas? 
Lucrecia.  Hidalgo,  gdonde  me  llevas? 
Batin.  A  sacarte  por  lo  menos 

de  tanta  enfadosa  arena, 

como  la  falda  del  rlo 

en  estas  orillas  deja. 

Pienso  que  fue  treta  suya, 

por  tener  ninfas  tan  bellas, 

volcarse  el  coche  al  salir; 

que  si  no  fuera  tan  cerca, 

corrierades  gran  peligro. 

The  same  play  offers  an  example  of  duplication  in  dialogue  which 
could  easily  pass  unnoticed  as  such.  In  Act  I  Casandra  asks  her 
servant,  Lucrecia,  what  she  thinks  of  the  young  count,  Federico ; 
when  Casandra  has  left  the  room  Federico  asks  Batin,  his  ser- 
vant, to  give  his  opinion  of  Casandra.  In  al  Pasar  del  Arroyo 
we  have  a  typical  duplication  of  situation  and  language.  The 
action  of  Jacinta  in  taking  leave  of  her  lover  Carlos,  is  followed 
by  a  similar  decision  on  the  part  of  her  maid  Isabel  who  bids 
farewell  to  Mayo,  the  servant  of  Carlos.  {See  Act  II,  scene  xxiii.) 
The  repetition  of  similar  sentiments  or  phrases  may  assume 
a  poetic  form  of  great  charm,  found  especially  in  scenes  in  which 
only  the  lovers  and  no  servants  take  part.  Thus  the  dialogue 
between  Sancho  and  Elvira  in  el  mejor  Alcalde  el  Reij  is  in 
Lope 's  best  vein  : 

SancJio;  despues,  Elvira 
Sanclio.      Sal,  hermosa  prenda  mia; 

sal,  Elvira  de  mis  ojos.     (Sale  Elvira) 
Elvira.       (Ap.)     jAy,  Dios!      jCon  cuantos  enojos 

teme  amor  y  desconfia! 

Que  la  esperanza  prendada, 

presa  de  un  eabello  esta. 
Sanclio.      Tu  padre  dice  que  ya 

tiene  la  palabra  dada 

a  un  criado  de  don  Tello. 

iMira  que  estranas  mudanzas! 


38  iti;.\M.\ric  Airr  or  i.ori-:  dk  vkha 

lilrini.       No  oil  L.-iMo  mis  (•s|..m:miz:is 

(•oljjal)a  amor  do  iiii   cabi'llo. 

^  Que  mi  padre  me  ha  easado, 

Sancho,  con  uu  escudero? 

Hoy  pierdo  la  vida,  hoy  imiero. 

Vivid,  mi  dulce  cuidado; 

que  yo  me  dare  la  muerte. 
Sancho.      Paso;  que  me  burlo,  Elvira. 

El  alma  en  los  ojos  niira, 

dellos  la  verdad  advierte; 

que,  sin  admitir  espacio,  , 

dijo  mil  veces  que  si. 
Elvira.       Sancho,  no  lloro  por  ti, 

siuo  por  ir  a  Palaeio; 

que  el  criarme  en  la  llaneza 

desta  humilde  caseria, 

era  cosa  que  podia 

causarme  mayor  tristeza. 

y  que  es  causa  justa  advierte. 
Haiiclio.      iQue  necio  amor  me  ha  enganado! 

vivid,   mi   necio   cuidado; 

que  yo  me  dare  la  muerte. 

Engafios  fueron  de  Elvira, 

en   cuya  nieve  me   abraso. 
Elvira.       Sancho,  que  me  burlo,  paso. 

El  alma  en  los  ojos  mira; 

que  amor  y  sus  esperanzas 

me  han  dado  aquesta  licion. 

Su  propia  definicion 

es  que  amor  todo  es  venganzas. 
Sancho.      Luego   ^yo  soy  tu  marido? 
Elvira.       I'No  dices  que  esta  tratado? 

Again  the  spirit  of  duplication  and  balance  of  cross-purposes 
may  deal  only  with  groups  of  lovers  as  in  Quien  ama  no  haga 
fieros.  (Act  II,  scenes  iv  and  v.)  Here  Felix  and  Ana  are  both 
cousins  and  lovers,  but  Juana  is  also  in  love  with  Felix  and 
secretly  asks  Ana  to  help  her  win  him,  while  Count  Octavio  is 
also  in  love  with  Ana  and  secretly  asks  Felix  to  help  him  win 
her.  Thus  each  of  the  two  lovers  is  supposed  to  lend  a  helping 
hand  to  a  rival. 

A  good  example  of  duplication  in  situation,  this  time  matri- 
mony, can  be  found  in  d  Domine  Lucas,  a  charming  jeu  d 'esprit, 


BE  AM  AT  IC  AFT  OF  LOPE  DE  VEGA  39 

full  of  life  and  action  throughout.  The  chief  characters  are  two 
students,  Floriano  and  Alberto,  cousins,  balanced  against  Luc- 
recia  and  Leonarda,  also  cousins,  constituting  a  formula  accord- 
ing to  which  one  pair  of  cousins  nuirries  another,  that  is,  Floi-iano 
marries  Lucrecia  while  his  cousin,  Alberto,  marries  her  cousin. 
Leonarda. 

Alherto.         ... 

Si  contigo  me  case, 
no  creo  que  te  he  enganado; 
que  soy  caballero  honrado 
y  alguna  renta  herede. 
De  Floriano  soy  primo; 
y  asi,  pues  eres  tu  prima 
de  Lucrecia,  a  mi  me  estima 
en  lo  mismo  que  la  estimo. 

Leonarda.      Digo  que  ya  soy  conteuta 

de  hacer  tan  buen  casamiento, 
y  perdono  el  fingimiento. 

In  la  Noche  de  iSan  Juan  artifice  dominates,  although  the 
romantic  color  and  movement  have  made  some  critics  very  enthu- 
siastic over  the  play.  An  occasional  genuine  note  of  real  life  is 
struck,  but  many  of  the  themes  lack  true  inspiration,  possibly 
because  all  of  them  had  been  employed  many  times  before  by 
Lope.  He  especially  makes  use  of  his  well  known  devices  of 
balance,  cross-purposes  and  duplication,  applying  them  to  the 
gaieties  of  St.  John's  Eve.  The  play  presents  two  groups,  in 
each  of  which  a  brother  and  sister  play  the  chief  parts,  each 
brother  naturally  loving  the  other  brother's  sister,  while  the 
sisters  have  secretly  given  their  affections  to  two  other  men. 
La  Esclava  dc  su  galan  presents  a  balance  and  crossing  of  in- 
trigues based  upon  the  love  of  Don  Juan  and  Elena  for  one 
another  while  at  the  same  time  Elena  is  loved  by  Ricardo  and 
Don  Juan  by  Serafina,  constituting  a  kind  of  subplot. 

In  comedy  balance  and  duplication  of  intrigue  are  naturally 
far  more  at  home  than  in  serious  drama  or  tragedy.  Indeed  in 
the  first  we  find  it  developed  to  its  highest  complexity  as  may 
be  seen  from  the  following  combination  in  la  discvcta  Enamovada. 


40  DRAMATIC   MIT  OF   I.OPK   DK   VEGA 

IIciT  a  fatlu'i-,  (I  Capihhi  Uci-iiardo.  and  Ins  son.  Lncindo,  are 
set  over  against  a  niotlier,  Belisa,  and  her  daughter,  Fenisa. 
Hon  and  daughtei-  are  secretly  lovers,  but  the  plot  really  turns 
on  the  fathei-'s  desire  to  marry  the  daughter,  while  the  son  is 
supposed  to  be  courting  the  mother,  an  example  of  amusing 
cross-purposes  which  Lope  himself  has  put  into  gi'aceful  verse: 

('(ipitdii.  I  a  Rolisa  I     Si  yo  estuviera  avisado 
(le  que  Lueindo  os  queria 
■ — que  en  opinion  le  tenia 
(le  honibre  menos  asentado — 
yo  propio  tratara  aqui, 
Belisa,  del  casaniiento; 
que  es  dar  a  mi  bieu  aunieuto 
que  nos  troquemos  ansi. 
Casado  con  quien  es  madre 
de  mi  bien,  como  confio 
de  vos  misma,  el  hijo  mio 
vengo  yo  a  tener  por  padre; 
y  Fenisa,  mi  mujer 
y  vuestra  hija,  tendra 
padre  en  Lueindo;  y  dara 
a  todo  el  mundo  placer 
la  discrecion  del  trocar 
las  edades  por  los  gustos. 

Repetition  in  sentiment  and  verse  form,  a  kind  of  poetic  jeu 
d 'esprit,  is  a  characteristic  manifestation  of  Lope's  comedia. 
As  dialogue  it  is  wholly  artificial  although  frequently  saved  by 
his  wit  or  graceful  verse  or  both.  In  el  Acero  de  Madrid  Lisardo 
and  Riselo  together  with  the  clever  servant,  Beltran,  have  agreed 
to  meet  Belisa  and  her  aunt,  Teodora,  on  the  Prado.  Before 
the  latter  appear  with  their  servant,  Leonor,  Beltran  recalls 
the  verses  of  a  popular  cantor,  whereupon  the  idea  is  developed 
by  each  in  turn  (a  romance  in  a-o),  the  lackey  closing  with  a 
liumorous  burlesque  of  the  culto  sentiments  of  tlie  other  two: 

Pasco  del  Prado 
Lisardo  y  Fiselo  con  capas  dc  color,  biznrros;  y  Beltran 
Lisardo.     ;0,  como  tardan,  Riselo! 

;  Que  he  de  hacer? 
Riselo.  Amor  te  valga. 


DRAMATIC  AFT  OF  LOPE  DK  VEGA  41 

Lisardo.    Temo  que  de  envidia  saiga 

deste  mi  sol  el  del  cielo. 
EiseJo.       Antes  uo  saldra  si  sabe 

que  63  sol  y  que  fuera  esta. 
BeJtrdn.     Las  aves  le  cantan  ya 
a  Belisa  eu  voz  siiave: 
Mananicas  ftoridas 
del  mes  de  mayo, 
recordad  a  mi  niiia, 
no  duerma  tanto. 
Lisardo.    Campos  de  Madrid  dichosos, 
si  soys  de  sus  pies  pisados; 
fuentes,  que  por  ver  la  liuerta 
del   Duque   subis   tan   alto 
el  eristal  de  vuestros  ojos, 
que  asomais  los  blancos  rayos 
por  las  verdes  celosias, 
muros  de  sus  verdes  cuadros; 
hermosa  alfombra   de   flores, 
donde  tejiendo  y  pintando 
esta  la  naturaleza 
mas  ha  de  ciuco  mil  afios; 
arroyuelos   cristalinos, 
ruido  sonoro  y  manso, 
que  parece  que  correis, 
tonos  de  Juan  Bias  cautando, 
porque  ya  corriendo  a  prisa, 
y  ya  en  las  guijas  despacio, 
parece  que  entrais  con  fugas, 
y  que  soys  tiples  y  bajos; 
recordad   a  mi  nina, 
no  duerma  tanto. 
EiscJo.        Aves  que  vais  por  el  viento, 
ya  del  sol  clarificado, 

sobre  sus  plumas  tendiendo 

vuestros   vistosos   penaclios; 

las  que  asomais  por  los  nidos 

las  cabezas  gorjeando, 

y  las  que  ya  en  altas  ramas 

dais  buenos  dias  al  Prado; 

trigos  que  con  amapolas, 

y  mil  amarillos  lazos 

sois  un  tapiz  de  verduras 

sembrado  de  papagayos; 

alamos  verdes,  a  quien 

con  tantas  hojas  y  ramos 

vistio  de  alegre  librea, 


42  dhamativ  Airr  of  i.ori-:  in-:  vkha 

ii  jK'sjir  ilo  Oftubre,  mayo; 
]i;ii:i  (|U('  la  iiifia  vciiga, 
(jiu'  c\sta  esperaiulo  Lisanlo, 
lecordad  a  su  tia, 
no  duerma  tanto. 
Biliran.     Tabernas  de  San  Martin, 
generoso  y  puro  santo, 
que  ya  poneis  reposteros 
I'omo  acemilas  de  Baeo; 
cajones,  que  ya  os  cubris 
con  el  pan  de  leche  bianco; 
franceses,  que  pregonais 
aguardiente  y  letiiario; 
carretones  de  basura, 
que  vais  las  calles  linqiiando; 
roperos,  que  amaneeeis 
con  solicito  cuidado, 
sin  ser  procesion  del  Corpus, 
las  tiendas  entapizando; 
y  vosotros,  aires  frios, 
que  dais  tos  y  resfriado, 
romadizo  y  otras  cosas 
a  los  que  salen  sudando; 
porque  despierte  a  la  tia, 
y  ella  a  Belisa,  si  acaso 
duerme  descuidada  agora 
de  que  la  aguarda  Lisardo, 
reeordad  mi  fregona, 
no  duerma  tanto. 

While  this  is  a  striking  example  of  Lope's  poetry  and  wit.  he 
repeats  the  feat  later  in  the  play  (Act  II,  scene  xxii),  and  we  have 
another  specimen  of  the  duplication  of  sentiment  and  poetic  form 
in  an  apostrophe  to  the  winds  of  Madrid  by  Lisardo  and  Riselo  (a 
romance  in  a-e),  the  idea  being  again  burlesqued  by  Beltr^iif;  the 
servant.  In  la  Viuda  valenciana  Lope  presents  three  young  gal- 
lants, who  generally  appear  together  and  on  various  occasions  in- 
dulge in  a  balance  of  dialogue  with  a  repetition  of  verse  form.  In 
Act  I,  scene  v,  each  enters  and  recites  a  sonnet  without  being 
aware  of  the  presence  of  the  others ;  thereupon  all  agree  to  nar- 
rate what  kind  of  favors  they  had  enjoyed  at  the  hands  of  the 
young  widow.  We  have  three  evenly  balanced,  amusing  accounts 
of  their  unsuccessful  courtship  told  in  varied  romance  forms.    As 


DEAMATIC  ABT  OF  LOPE  DE  VEGA  43 

a  piece  of  narrative  written  with  grace  and  sparkle,  notliing  conld 
be  better  designed  to  amuse  the  audience.  In  a  later  scene  we 
find  the  three  gallants  together  once  more ;  one  calls  for  a  verse, 
whereupon  the  three  proceed  to  compose  a  gloss  on  it.  (Act  III, 
scene  vii.)  After  these  manifestations  we  are  not  surprised  to 
have  the  play  close  with  another  example  of  this  trii)artite  dia- 
logue. 

The  division  and  equal  distribution  of  verses  or  parts  thereof 
constitute  a  phenomenon  common  in  the  later  comedia,  espe- 
cially that  of  Calderon  and  his  school.  It  makes  a  highly  arti- 
ficial form  of  dialogue,  capable  of  certain  dramatic  effect  on  the 
stage,  but  is  easily  exaggerated  and  abused.  A  fair  example 
in  a  comic  vein  may  be  found  in  el  Prcmio  del  hien  hahlar: 

Don  Juan.    Dejame,  neeio. 

Martin.  irQue    haces? 

Don  Juan.    ^.Que  teiigo  de  hacei?     Morir. 

Martin.         Pues  ^de  esa  manera  sales.? 

Leonardo,     i  Que  es  esto,  Don  Juan  ? 

Don  Juan.  Feidernie. 

Leonardo.     ^'  A  d  6  n  d  e  v  a  s  ? 

Don  Juan.  A  niatarnie. 

Leonardo.     ^Por  que,  sefioi? 

Don  Juan.  Por  tu  gusto. 

Leonardo.     |, Gusto?     |De   que? 

Don  Juan.  De  easarte. 

Leonardo.     |  Oiste  a  mi  padre? 

Don  Juan.  Si. 

Leonardo.     Pues  |  que  dijo? 

Don  Juan.  Que  me  mates. 

Leonardo.     Yo  |  que  respoudi  ? 

Don  Juan.  Tibiezas. 

Leonardo.     Y  i  don  Pedro  ? 

Don  Juan.  Necedades. 

Leonardo.     Sosiegate. 

Don  J^ian.  iComo  puedo  ? 

Leonardo.     |Di  yo  el  si? 

Don  Juan.  Basto  eallarle. 

Leonardo.     Neeio  estas. 

Don  Juan.  Soy  ilesdiidiado. 

Leonardo.     Y  yo  mujer. 

Don  Juan.  Eso  ])aste. 

Leonardo.     Hablame  bien. 


44  DUAMAI IC  Ah'T  OF  LOPE  DE   VEGA 

Don  Juan.  Estoy  iiiuerto. 

Lconarda.     Ksi-iu-ha. 

Don  Juan.  i  Q"e  lie  <le  escucharte? 

Leonardo.      Eso  es  loeiira. 

])(ui   JiKin.  Es  por  ti. 

Martin.  I'livovou   lepresentantes 

que  sabcn  l)ien  el  jiapel.   {Ap.) 

— Act  II,  scene  ix. 

And  another  in  a  serious  tone  in  la  Boha  pura  los  otros  ij  discrcta 

para  si  : 

Alejandro.    Escucha  .  .  . 

Diana.  dYo?     ;  Para  que? 

Alejandro.    Hasme    de    escuchar. 

Diana.  No  quiero. 

Alejandro.    Teoilora  nie  hal)lt'>  .  .  . 

Diana.  No  hablalla. 

Alejandro.    |Por  que? 

Diana.  Porque  yo  uie  ofeiido. 

Alejandro.    lY  si  me  detuvo? 

Diana.  Huir. 

Alejandro.     jHuir! 

Diana.  Y  fueia  bien  hecho. 

Alejandro.    |C6mo  pude? 

Diana.  Con  los  pies. 

Alejandro.    Loca  estas. 

Diana.  Como  tii  uecio. 

Alejandro.    jTanto  rigor! 

Diana.  Tengo  amor. 

Alejandro.    Yo,  mayor. 

Diana.  Yo  no  lo  creo. 

Alejandro.    Mas  [  que  te  pesa  ? 

Diana.  No  hara. 

Alejandro.    Eso  ^  es  valor? 

Diana.  Tengo  celos. 

Alejandro.    ;  Morir  me  dejas? 

Diana.  iQne  graeia! 

Alejandro.    Y"a  me  enojo. 

Diana.  Y  yo  me  vengo. 

Alejandro.    Dire  quien  soy. 

Diana.  Y"a  lo  has  dieho. 

Alejandro.    ^'Aquieu? 

Diana.  A  quien  aborrezco. 

Alejandro.    jFuerte  mujer! 

Diana.  Esto  soy. 

— Act  III,  scene  v. 


DFAMATIC  ABT  OF  LOPE  DE  VEGA  45 

In  my  notes  appended  to  l<i  Duma  hoha  I  had  occasion  to  si)eak  of 
an  artificial  distribntion  of  stanzas,  verses  and  verse  fragments 
occurring  in  laNochc  toledana  (Act  III,  scenes  xi-xv),  and  repre- 
senting the  extreme  to  which  this  can  be  carried.  A  final  example 
of  this  feature,  taken  from  a  tragedy,  and  demonstrating  that 
there  is  no  characteristic  of  form  or  content  for  which  a  parallel 
cannot  be  found  in  the  original  inventor,  Lope,  is  the  last  scene 
of  Act  II  of  la  Corona  merecida: 

Bey.  Muy  bien  venidos  seals. 

Voy  a  aeompaiiar  a  la  Eeiua; 

vednie  (lesjjues. 
Don  'Ii'iigo.  (ap.)  Tiemblo. 

Dona  Sol.  (a p.)  Tenio. 

Leonor.  (ap.)  Yo  me  abraso. 

Bey.  (ap.)  Yo  me  qiiemo. 

Leonor.  (ap.)  Celos  vlveu. 

Bey.   (ap.)  Amor  reina.     (van.se  los  rcyes). 

Don  Inigo.  Yamos,  Sol. 

Don  AJvaro.  Conteiito  estoy.     (ranse  Dona  Sol,  Don  Jnigo 

y  Don  Aharo). 
Don   Manriqiie.       El  Rev  se  abrasa. 
Don  Pedro.  A  Sol  mira. 

Don  Manrique.      |  Que  os  ha  dieho  doiia  Elvira? 
Don  Pedro.  Que  muy  en  su  graeia  estoy. 

Don  Manrique.      Bella  es  Sol. 

Don  Pedro.  De  un  angel  copia. 

Don  Manrique.      Mucho  temo  que  este  sol 

a  nuestro  rey  espaiiol 

nos  le  ha  de  hacer  de  Etiopia. 

Even  in  lo.s  Cotncndadores  dc  Cordoha.  in  which  one  would 
hardly  expect  such  artifice,  may  be  found  a  balance  of  thrct'  son- 
nets and  other  verse  pendants  (Act  I,  scene  vi). 

The  mechanical  features  of  the  dialogue  just  discussed  are  by 
no  means  a  characteristic  to  be  found  only  in  Lope's  latest  man- 
ner. Their  presence  in  numerous  plays  mentioned  in  the  list 
of  comedias  first  printed  in  1604  proves  that  their  rhetorical 
effectiveness  appealed  to  him  early  in  his  career. 


1)1!  AM  AT  ir  ART  OF   LOPE   DE    lECA 


P()|;T1c   I.ANCrACK  AND  TIIOlHillT:     COXCEI'T/SMO   AND  (TLTO 

It  is  a  great  misfortune  that  the  language  of  poetry  has  in 
so  many  eases  proved  to  be  a  barrier  between  a  great  writer  and 
posterity.  That  this  is  so  in  the  ease  of  the  drama  especially 
is  evident  for  two  reasons.  First,  we  do  not  speak  in  verse,  and 
tlie  world  of  all  verse-plays  is  therefore  on  a  higher  level  and 
moves  in  a  finer  atmosphere  than  that  of  common  day.  Second, 
the  appreciation  of  verse  is  the  gift  of  a  few :  it  demands  a 
special  attribute  of  spirit,  an  esthetic  emotion  or  effort  of  which 
only  a  snudl  minority  of  men  is  capable.  If  we  add  to  tliis  the 
passing  moods,  the  temporary  vogues,  individual  and  national 
peculiarities,  to  say  nothing  of  the  structural  and  mechanical 
difficulties  of  which  verse  is  capable,  the  average  student  of 
literature  is  apt  to  find  himself  in  front  of  a  stone  wall.  To  all 
this  Lope's  unlimited  poetic  gifts  are  no  exception.  While  he 
is  unequalled  in  superior  qualities  of  genius  which  will  never 
let  a  large  part  of  his  creation  die,  but  will  place  him  always  in 
the  forefront  of  the  world's  great  poets,  his  poetic  language 
possesses  to  no  small  degree  certain  elements  of  a  local  or  transi- 
tory quality.  These  demand  in  the  reader  not  only  an  excep- 
tional gift  of  esthetic  appreciation  but  an  intelligent  grasp  of 
a  peculiar  type  or  vogue  of  literary  culture  distinctly  a  thing 
of  the  past.  The  difficult  characteristics  of  Lope 's  style  which 
the  average  student  may  understand  less  and  less  as  the  years 
go  on  are  those  of  all  poetry  of  his  time,  and  are  generally 
designated,  for  the  sake  of  convenience,  as  conceptismo  and 
(idfo.  I  sliall  use  the  latter  form  instead  of  the  longer  cultc- 
r(i)iisiii()  since  it  is  the  one  preferred  by  Lope  himself.  To  stigma- 
tize with  tliese  names  everything  poetic  which  has  the  earmarks 
of  either  quality  is  a  mistake,  for  isolated  conceptos,  or  an  occa- 
sional culto  verse  by  no  means  indicate  a  poet's  manner.  Indeed 
it  should  be  clearly  understood  in  any  criticism  of  Spanish 
poetry  of  the  Golden  Age  that  the  presence  of  these  elements 


DRAMATIC  ABT  OF  LOPE  DE  VEGA  47 

would  never  have  created  the  names  concoptismo  and  culto  had 
it  not  been  for  their  abuse.  Poetic  language  has  never  been  and 
could  never  be  devoid  of  either  trait,  and  the  centuries  imme- 
diately preceding  Lope  furnish  many  tine  and  illuminating 
examples  of  them.  I  shall  presently  attempt  to  describe  both 
conceptismo  and  culto  a  little  in  detail,  especially  by  giving  cita- 
tions from  Lope  himself.  Nothing  throws  more  light  on  his  art 
and  his  work  than  consideration  of  the  growth  of  poetic  language 
and  of  the  universality  of  peculiar  thoughts,  figures  and  word 
colors. 

Poetry  may  be  the  most  assimilative  and  imitative,  even  if 
it  is  the  most  original  form  of  expression  which  the  human  spirit 
has.  To  put  it  baldly  everything  is  grist  to  its  mill.  It  absorbs 
from  nature,  science,  philosophy  and  the  whole  thought-realm 
engendered  by  human  experience ;  it  takes  color  from  the  arts 
and  gets  its  voice  from  music  itself.  Ideas  related  to  all  these 
are  consequently  present  in  all  poets.  Let  me  be  a  little  more 
specitic  as  regards  Spanish  literature.  Provencal  poetry  and 
its  lineal  descendants  in  Spain  are  filled  with  concept os  and 
culto;  the  cancioneros,  the  chief  poets  of  the  fifteenth  century, 
whose  name  is  legion,  furnish  excellent  examples,  and  the  great 
poets  of  the  sixteenth  century  employ  this  form  of  language, 
though  in  varying  degree.  I  do  not  believe  that  any  date  can 
or  need  be  set  for  the  earliest  presence  of  conceptismo  and  culto; 
nor  need  we  be  concerned  with  anything  but  their  abuse,  and  that 
falls  chiefly  within  the  seventeenth  century. 

Our  English  poets  furnish  abundant  examples  of  this  form 
of  expression,  but  it  has  passed  without  a  particular  designation 
as  only  the  exaggeration  of  the  phenomenon  makes  it  offensive. 
Neither  Spanish  term  as  such  can  be  related  to  Euphuism.  When 
Shakespeare  says:  "All  the  world's  a  stage,  and  all  the  men 
and  women  merely  players,"  he  puts  a  speech  into  the  mouth  of 
Jacques  which  is  full  of  conceptos.  "To  take  up  arms  against 
a  sea  of  troubles"  is  "a  concepto,  as  is  also  Hamlet's  little  dog- 
gerel : 


48  DRAMATIC  AUT  OF  LOI'K  l)E   VEGA 

Iinperious  Caosar  dead  and  turiuMl  to  (day, 
Mijrht  stop  a  liole  to  koeji  tlio  wind  away: 
O,  that  that  earth,  which  kept  the  world  in  awe 
8houhl  patrh  a  wall  to  expel  the  wiuter's  flaw! 

On  tlu>  other  hand: 

Now  is  the  winter  of  our  discontent 

Made  glorious  summer  Ijy  this  sun  of  York, 

(Bichard  III) 

is  pure  culto  in  its  figures  of  speech  ;  and  "This  to  me  in  dreadful 
secrecy  impart  they  did"  (Hamlet)  is  decidedly  culto  because 
of  the  inverted  syntax.  Tennyson's  charming  verses, 

Her  feet  have  touched  the  meadows, 
And  left  the  daisies  rosy, 

present  a  beautiful  conccpto  for  Avhich  we  have  a  parallel  in 
Lope's  el  Acero  de  Madrid: 

Nina  que,  al  salir  el  alba 
dorando  los  verdes  prados, 
esmaltan  el  de  Madrid 
de  jazmines   tus   pies  blancos. 

Lowell,  so  fond  of  over-fine  writing,  is  full  of  conceptos  and 
culto,  even  in  his  prose.  When  Carlyle  tells  us  of  Burns  that 
"he  has  a  poet's  soul,  and  strives  towards  the  Infinite  and 
Eternal,  and  soon  feels  that  all  this  is  but  mounting  to  the 
house-top  to  reach  the  stars,"  he  indulges  in  a  remarkably 
beautiful  conccpto.  But  why  shall  we  give  it  this  name,  and 
spoil  what  we  are  in  the  habit  of  calling  pure  poetry  by  an 
absurd  designation?  Let  us  rather  return  to  conceptismo  and 
culto,  that  abuse  of  legitimate,  poetic  language,  and  get  a  little 
clearer  idea  of  their  nature.  I  shall  then  give  some  examples 
taken  from  Lope's  comedia. 

To  begin  with,  the  two  phenomena  are  closely  related  as  are 
most  manifestations  of  darkness  and  obscurity  in  literature,  and 
the  extended  use  of  one  was  bound  to  involve  the  other.  As  the.y 
overlapped  in  their  uses,  so  they  strengthened  one  another  in 


BBAMATIC  ABT  OF  LOPE  BE  VEGA  49 

that  vogue  whieli  was  successful,  in  part  at  least,  in  ruining 
Spanish  poetry  of  the  seventeenth  century.  Lope  hardly  seems 
to  make  a  very  clear  distinction  between  them,  and  when  he 
criticises  his  contemporaries  he  quite  generally  brands  tlieir 
defects  only  as  culto.     Thus  he  wrote  in  the  Dorotca: 

Cesar.  Aquel.poeta  es  culto,  que  eultiva  de  suerto  su  ])oeiiia,  que  no 

deja  cosa  aspera  iii  eseura,  eomo  un  labrador  un  (•aiii])o; 
que  eso  es  eultura,  aunque  ellos  diran  que  lo  toiuan  yov 
ornamento. 

Ludovico.  La  ley  segunda  de  las  cosas  que  no  se  tienen  per  escritas  dice, 
que  son  iguales  lo  no  entendido  y  lo  que  no  fue  escrito. 

Cesar.  A  mi  me  pareee  que  al  nombre  ciiUo  no  jjuede  haber  etimologia 

que  mejor  le  venga  que  la  limpieza  y  el  despejo  de  la  seu- 
teneia  libre  de  la  eseuridad;  que  no  es  ornamento  de  la 
oracion  la  confusion  de  los  terminos  mal  colocados,  y  la 
barbara  frase  traida  de  los  cabellos  con  metafora  sobre 
nietafora. 

Ludovico.  Vieiosa  es  la  oracion  en  buena  logica,  que  se  saca  por  terminos 
escuros  y  iniproprios,  y  que  mas  eseurece  que  deelara  la 
naturaleza  de  la  cosa  definida;  y  si  las  que  entre  si  tienen 
esencial  correspondencia  no  se  pueden  definir  la  una  sin  la 
otra,  ^que  relacion  hara  velera  paJoma  a  las  naves  para 
describirlas  o  definirlas  por  este  termiuo,  pues  que  lo  niismo 
fuera  velero  cernicalo  a  un  galeon,  velera  cigiiena  a  una 
fragataf 

This  justities  the  inference  that  a  poet  guilty  of  obscurity  and  of 
using  too  many  ciuiccptos  is  plainly  culto.  In  many  ways  cidfo 
writing  was  an  abuse  and  distortion  of  conceptismo,  as  gougo- 
risyno  was  a  pathological  and  finally  an  insane  exaggeration  of 
culto.  Conceptismo  as  such,  that  is  as  an  abuse,  was  a  conscious 
attempt  at  fine  writing,  the  expression  of  a  thought  series  in 
peculiar  figures,  especially  similes  and  metaphors  which  were,  on 
the  whole,  clear  enough,  but  avoided  normal  denotations,  descrip- 
tions or  sentiments  too  directly  and  baldly  expressed.  A  marked 
distinction  of  conceptismo  is  its  decided  leaning  toward  meta- 
physical expression.  Culto  involves  the  syntax  and  outer  form 
first  of  all,  then  does  away  with  all  directness  and  makes  it  a 
rule  never  to  call  a  spade  a  spade.  While  conceptismo  may  say 
"the  butterfly  is  a  winged  flower."  culto  goes  farther,  drops 
any    comparison    which    explains,    and    speaks    only   of   winged 


50  i>i:.\M.iTic  Airr  of  i.ori-:  de  ieca 

Howt'i's  and  statioiiai-y  hutti-i-Hit's ;  from  wliicli  absurdity  the 
ri'adeT  inft'i-s  thai  ciif  is  mcaul  foi-  the  olhfi'.  Conccpthmo 
involves  tlie  iiiHueiiecs  of  philosophy  and  wit,  culto.  the  invi'ii- 
tion  of  unknown  hitinized  words,  the  transfer  of  the  function  of 
parts  of  s])eech,  nouns  being  tortured  into  verb  forms,  color 
phrases  taking  the  place  of  the  noun,  and  inseparable  words  being 
separated.  Culto  is  thus  frequently  a  question  of  the  mechanism 
of  speecli,  together  with  an  abuse  of  poetic  license  and  the  unwar- 
ranted fonn  of  isolated  and  twisted  expressions  of  thought.  Con- 
ceptismo  is  based  on  clever  ideas ;  culto  is  figured,  obscured  and 
unwarranted  phraseology,  apparently  intended  to  shock  and  im- 
press by  its  originality.  At  their  worst  both  are  guilty  of  un- 
natural, semiacademic  phrase-making,  influenced  in  many  of  its 
earlier  expressions  of  the  fifteenth  and  sixteenth  centuries  by  a 
misguided  attempt  to  imitate  the  classics.  This  etfort  concerned 
itself  not  only  with  the  elements  of  style,  such  as  inversion,  trans- 
position, and  so  on,  but  also  of  content,  the  verbiage  of  classic 
mythology,  fiction  and  legend  being  especially  responsible  for 
much  useless  lumber  in  the  language  of  the  Renascence.  Of  this 
I  shall  have  a  little  more  to  say  in  a  subsequent  chapter.  It  is 
impossible  to  overestimate  the  figures  of  speech  which  drew  their 
life's  blood  from  the  classics.  We  need  think  only  of  Aurora, 
Phoebus,  Diana  and  the  long  list  of  personifications  to  get  a  faint 
idea  of  this  inherited  vocabulary.  As  early  as  the  Celestina  we 
have  a  specimen  intended  to  ridicule  this  growing  mannerism. 
Calisto  exclaims: 

.  .  .  aunque  primero  seau  los  cauallos  de  Febo  apaeeutados  en  aquellos 
verdes  prados,  que  sueleii,  quando  han  dado  fin  a  su  Jornada.  Sempronio — 
Dexa,  sefior,  essos  rodeos,  dexa  essas  poesias,  que  no  es  habla  conueniente 
la  que  a  todos  no  es  comun,  la  que  todos  no  participan,  la  que  pocos 
entienden.    Di:  aunque  se  ponga  el  sol,  e  sabran  todos  lo  que  dizes. 

And  how  shall  we  estimate  properly  the  influence  exerted 
upon  this  language  by  works  of  the  realm  of  religion  and  phil- 
osophy? The  growth  of  the  poetic  language  of  the  sixteenth 
century  can  be  admirably  studied  in  the  writings  of  the  most 
prominent  authors,  beginning  with  the  one  whose  taste  was  always 
unerringly  good,  Garcilaso  de  la  Vega.    In  him  the  classic  char- 


DBAMATIC  AST  OF  LOPE  BE  VEGA  51 

acter  fused  with  the  spirit  of  the  Italian  poets  is  iiotieeal)ly  the 
strongest,  but  as  we  advance  in  the  century  the  influence  of 
neoplatonisin,  followed  by  that  of  the  mystic  and  ascetic  writers, 
makes  itself  felt  more  and  more,  so  that  before  the  close  of  the 
century  we  have  a  fusion  of  the  three.  Both  neoplatonism  and 
mysticism  furnished  spiritual  and  metaphysical  conceptions  and 
their  philosophic  thought  a  pleasing  semiobscurity  which  became 
the  hall-mark  of  most  conceptismo.  Imitation  of  vague  imagery 
was,  Jiirtiiermoiie,  justified  on  the  ground  that  Plato  himself 
puso  cortinas  (veiled)  his  'divine'  writings.  The  philosophy  of 
such  books  as  Leon  Hebreo's  Didlogos  de  Amor  spread  over  the 
whole  Latin  world ;  in  Italy  and  Spain  especially  it  found  an 
echo  in  works  of  a  novelistic  or  seminovelistic  character,  in  love 
and  adventure  stories,  in  the  pastoral  novel,  and  especially  in 
lyric  poetry.  It  is  small  wonder,  then,  that  among  the  poets  of 
Spain  the  influence  of  this  philosophy  and,  close  upon  its  heels, 
tliat  of  mysticism  should  have  added  so  greatly  to  the  wealth  of 
their  poetic  language.  Nor  can  there  be  any  doubt  that  as  long 
as  all  imitation  was  kept  within  proper  bounds  it  served  to 
develop  new  veins  of  exquisite  expression.  The  writings  of  the 
remarkable  poets  enumerated  by  Lope  in  his  Dorotea  (act  IV, 
scene  ii)  contain  some  of  the  best  and  some  of  the  worst  of 
Spanish  lyric  verse;  therefore  a  study  of  their  speech  could  be 
made  in  proper  order  from  Garcilaso  to  Quevedo  and  Gongora 
to  show  the  development  of  all  those  poetic  traits  which  make 
verse  of  the  siglo  de  oro  h  highly  complex  creation,  and  its  reading 
no  unmixed  enjoyment.  From  what  has  just  been  stated,  it  is 
clear  that  prose  fiction  also  contributed  to  strengthen  the  a^)ove 
mentioned  influences.  This  is  especially  true  of  the  pastoral 
novel,  and  careful  consideration  of  the  Dia»a  of  IMontemayor. 
particularly  that  of  the  great  poet,  Gil  Polo,  the  Galatea  of  Cer- 
vantes, the  Pastor  de  Filida  by  Galvez  de  Montalvo,  and  others, 
will  bear  me  out.  All  are  full  of  innumerable  specimens  of  this 
language. 

Lope,  the  greatest  member  of  the  brotherhood  of  poets  as 
well  as  the  most  assimilative  and  versatile  genius  of  them  all. 


ry2  nnAMAi  ic  Airr  of  i.ori-:  in-:  iega 

ii;iturall\-  ^avc  expression  to  every  pliase  of  j)Oetic  speeeli  of 
his  clay.  Exaiui)les  of  his  lyric  vei'se  in  its  pnrest  form,  least 
affected  by  vogues  or  peculiarities  of  any  kind,  are  known  to  all 
lovers  of  Spanish  literature.  His  corned ia  furnishes  examples 
of  every  conceivable  vein  :  fi'om  profoundly  tragic  passages  which 
must  have  gri|)i)ed  his  audience,  to  the  lightest  and  gayest  verse 
imaginable.  There  are  models  of  every  verse  structure  together 
with  an  infinite  range  in  sentiment.  Passages  with  concessions  to 
conccptismo  and  culto  are  found  as  well  as  every  tyi)e  of  purely 
popular  poetry  ;  this  is  generally  marked  by  exquisite  local  flavor, 
and  is  as  full  of  life  and  sparkle  today  as  it  was  three  hundred 
years  ago.  Ballads,  Ictrillas,  glosas,  cantares,  fables,  anecdotes, 
notably  romancillos,  which  are  a  pure  jcu  cV esprit,  and  many 
other  forms,  are  a  part  of  the  treasure  which  he  has  left  us.  Of 
his  popular  verse  practically  untarnished  by  culto  innumerable 
examples  might  be  given  of  the  flavor  of  the  following ;  here  we 
have  a  picture  which  recalls  scenes  painted  by  Goya,  so  vividly 
do  we  see  the  dancer  Gil  before  us. 

Musicos.     (cantando) 
jOh  que  bien  que  baila  Gil 
con  los  mozos  de  Barajas, 
la  chacona  a  las  sonajas 
y  el  villano  al  tamboril! 
iOh   que  bien,  cierto  j  galan, 
baila  Gil,  taSendo  Andres! 
O  ijone  fuego  en  los  pies, 
o  al  aire  volando  van. 
No  hay  mozo  que  tan  gentil 
agora  baile  en  Barajas, 
la  chacona  a  las  sonajas 
y  el  villano  al  tamboril. 
^Que  nioza  deseeharia 
un  mozo  de  tal  donaire, 
que  da  de  coees  al  aire, 
y  a  volar  le  desaf ia  ? 
A  lo  menos  mas  sutil, 
cuando  baila  se  hace  rajas, 
la  chaeona  a  las  sonajas, 
y   el   villano  al  tamboril. 

— Al  pasar  del  Arroyo,  1,  xii. 


DRAMATIC  AET  OF  LOPE  BE  VEGA  53 

Or  of  tlie  following,  a  version  of  a  well  known  fable : 

Uu  cuento  viejo  ha  veuido 

aqui  a  pedir  de  cogote. 

Jutaronse  los  ratones 

para  librarse  del  gato, 

y  despues  de  un  largo  rato 

de  disputas  y  opiniones, 

dijeron  que  aeertarian 

en  ponerle  un  cascabel; 

que  andando  el  gato  con  el, 

guardarse  mejor  podlan. 

Salio  un  raton  barbicano, 

colilargo,  hoeiquiromo, 

y  enerespando  el  grueso  lomo, 

dijo  al  senado  romano, 

despues  de  hablar  culto  un  rato: 

^Quien  de  todos  ha  de  ser 

el  que  se  atreva  a  poner 

ese  cascabel  al  gato? 

—La  Esdava  de  su  galdn,  I,  x. 

Nothing,   however,   equals  Lope's  lyric   inspiration   at   its  best, 
as,  for  example,  the  following: 

Musicos.      (Canten    tj   danzan) 
Dente  parabienes 
el  mayo  garrido, 

los  alegres  canipos,  t> 

las  fuentes  y  rios. 
Alcen  las  cabezas 
los  verdes  alisos, 
y  con  frutos  nuevos 
almendros  floridos. 
Echen  las  mananas, 
despues  del  roeio, 
en  espadas  verdes 
guarnieion  de  lirios. 
Suban  los  ganados 
por  el  monte  mismo 
que  cubrio  la  nieve, 
a  pacer  tomillos. 

(Folia) 
Y  a  los  nuevos  desposados 
eche  Dios  su  bendicion; 


54  DL-AM.rnC  ART  OF  LOPE  DE   VEGA 

jiarabien  les  <leu  los  prados, 
pues  ho}'  para  eu  uno  son. 

(vuelva  a  daiizar) 
Montanas  heladas 
y  soberbios  riscos, 
autiguas  eneinas 
y  robustos  piiios, 
dad  paso  a  las  aguas 
on  arroyos  linipios, 
que  a  los  valles  bajan 
de  los  hielos  frios. 
Canten  ruisenores, 
y  con  dukes  silbos 
sus  amoves  cuenten 
a  estos  verdes  mirtos. 
Fabriquen  las  aves 
con  nuevo  artifieio 
para  sus   hijuelos 
amorosos  nidos. 

(Folia) 
Y  a  los  nuevos  desposados 
eehe  Dios  su  bendicion; 
parabien  les  den  los  prados, 
pues  hoy  para  en  uno  son. 

— Perihdnez  y  el  comendador  de  Oeana,  T. 

I  spoke  above  of  the  barrier  which  verse  forms  may  be  to  a 
reader  of  subsequent  ages.  How  true  this  is  becomes  especially 
evident  from  the  passages  where  the  language  of  genuine  inspira- 
tion is  marred  by  lapses  into  culto.  Lope  rarely  spoils  the  work  of 
his  hand,  but  there  are,  nevertheless,  verses  in  which  the  logical 
clearness  and  simplicity  receive  an  ugly  and  unnatural  turn  by 
touches  of  the  current  vogue.  Sometimes  even  the  speech  of  char- 
acters supposed  to  be  of  the  people  is  artistically  endangered  and 
given  an  artificial  turn.  This,  in  my  opinion,  is  the  case  with  the 
rustic  Peribaiiez,  otherwise  one  of  Lope's  great  creations.  In 
el  Anzuelo  de  Fenisa  the  language  is  not  always  satisfactory 
because  the  characters  of  low  life — gamblers,  soldiers,  bawds,  and 
others  at  home  in  a  shipping  port — indulge  in  a  singular  purity 
of  speech.  We  have,  however,  another  good  bit  of  evidence  here 
of  Lope's  shrinking  from  unveiled  improprieties  and  indecencies 


DBAMATIC  ABT  OF  LOPE  BE  VEGA  55 

which  compel  his  worst  enemies  to  admit  that  in  his  literary  art 
he  is  marked  by  a  singular  and  pleasing  fineness  of  feeling.  He 
is  always  at  his  best  when  he  gives  us  pictures  in  little,  brief 
characterizations  presenting  an  attitude  of  mind  or  a  personal 
trait  in  which  his  gift  of  succinct  phrase  is  astounding.  I  can- 
not refrain  from  quoting  the  following  domestic  scene,  so  that 
the  reader  may  judge  for  himself  how  deep  were  Lope's  sympa- 
thies with  the  people : 

Cuando  se  muestra  el  lueero, 
viene  del  campo  mi  esposo, 
de  su  cena  deseoso; 
sientele  el  alma  primero, 
y  salgo  a  abrille  la  puerta, 
arrojando  el  almohadilla; 
que  siempre  tengo  en  la  villa 
quien  mis  labores  concierta. 
El  de  las  mulas  se  arroja, 
J  JO  me  arrojo  en  sus  brazos; 
tal  vez  de  nuestros  abrazos 
la  bestia  hambrienta  se  enoja, 
y  sintiendola  gruiiir, 
dice:    "En  dandole  la  cena 
V  al  ganado,  cara  buena, 

volvera  Pedro  a  salir. ' ' 
Mientras  el  paja  les  echa, 
ir  por  cebada  me  manda; 
yo  la  traigo,  el  la  zaranda, 
y  deja  la  que  aprovecha. 
Eevuelvela  en  el  pesebre, 
y  alii  me  vuelve  a  abrazar; 
que  no  hay  tan  bajo  lugar 
que  el  amor  no  le  celebre. 
Salimos  donde  ya  esta 
dandonos  voces  la  olla, 
porque  el  ajo  y  la  cebolla, 
fuera  del  olor  que  da 
por  toda  nuestra  cocina, 
tocan  a  la  cobertera 
el  villano  de  manera, 
que  a  bailalle  nos  inelina. 
Sacola  en  limpios  manteles, 
no  en  plata  aunque  yo  quisiera; 
platos  son  de  Talavera, 
que  estan  vertiendo  claveles. 


56  i)i:.iM.tri('  Airr  of  lope  de  vega 

Avaliolo  sii  escoililla 
(le  sopas  con  tal  priiiior, 
que  no  la  come  lucjor 
el  senor  de  muesa  villa; 
y  el  lo  i>aga  porque  a  fee, 
que  apenas  boeado  toma, 
lie  que,  como  a  su  paloma, 
lo  que  es  mejor  no  me  de. 
Bebe  y  deja  la  mitad, 
bebole  las  fuerzas  yo; 
traigo  olivas,  y  si  no, 
es  postre  la  voluntad. 
Acabada  la  comida, 
puestas  las  manos  los  dos, 
damosle  gracias  a  Dios 
por  la  merced  recebida; 
y  vamonos  a  aeostar, 
donde  le  pesa  a  la  aurora 
cuando  se  llega  la  hora 
de  venirnos  a  llamar. 

— Perihdnez  y  el  comendador  de  Ocana.  1. 

The  following  is  the  portrait  of  a  fortune-hunting'  Undo,  with 
realistic  touches  not  unworthy  of  Velazquez,  while  the  satirical 
wit  reminds  of  the  great  Quevedo : 

;No  siuo  venga  un  mancebo 

destos  de  ahora,  de  alcorza, 

con  el  sombrerito  a  orza, 

pluma  corta,  cordon   nuevo, 

cuello  abierto  muy  parejo, 

pufios  a  lo  veneciano, 

lo  de  fuera  limpio  y  sano, 

lo  de  dentro  sucio  y  viejo; 

botas  justas,  sin  podellas 

descalzar  en  todo  un  mes, 

las  calzas  liasta  los  pies, 

el  bigote  a  las  estrellas; 

jaboncillos  y  copete, 

cadena  falsa  que  asombre, 

guantes  de  ambar,  y  grande  hombre 

de  un  soneto  y  un  billete; 

y  con  sus  manos  lavadas 

los  tres  mil  de  renta  pesque, 

con  que  un  poco  se  refresque 

entre  sabanas  delgadas; 


DBAMATIC  ABT  OF  LOPE  DE  VEGA  57 

y  pasados  ocho  dias, 

se  vaya  a  ver  forasteras, 

o  en  amistades  primeras 

vuelva  a  deshacer  las  mias! 

Vendra  tarde,  yo  estare 

celosa,  dara  mi  hacienda, 

comenzara  la  contienda 

desto  de  si  fue  o  no  fue. 

Yo  escondere  y  el  dara; 

buscara  deudas  por  mi, 

entrara  justieia  aqui, 

voces  y  aun  coces  habra; 

no  habra  noche,  no  habra  dia, 

que  la  casa  no  alborote  .  .  . 

— Daca  la  carta  de   dote. 

— Soltad  la  hacienda  que  es  mia. 

— Entrad  en  esta  escritura. 

— No  quiero.     — jAh  si!     ^No  quereis? 

Yo  OS  hare,  infame,  que  entreis,  « 

si  el  brio  de  ahora  os  dura. — 

Y  que  mientras  mas  me  postro, 

me  haga  muy  mas  apriesa 

de  dos  titulos  condesa, 

Cocentaina  y  Punoenrostro. 

Yo  he  dicho. 

— La  Viuda  vaJenciana,  I,  iv. 

The  soldier  sketched  in  the  following  excerpt  stands  bodily 
before  the  reader : 

Los  soldados  no  podemos 
amar  con  secreto,  y  ser 
constantes  en  el  querer; 
que  estas  dos  faltas  tenemos. 
Apenas  entra  el  soldado 
con  las  medias  de  color, 
ealzon  de  extraiia  labor, 
sombrero  rico  emplumado, 
ligas  con  oro,  zapato 
bianco,  jubon  de  Milan, 
cuando  ya  todos  estan 
murmurando  su  recato. 
Llevan  colores  y  brio 
los  ojos,  y  en  galas  solas 
mas  jarcias  y  banderolas 
que  por  la  barra  el  navio. 


58  DL'.IM.iTIC  Airr  OF  lAH'E  DK   VEGA 

Pues  jeonstaneia  eii  el  querer? 

^como  puede  scr  constancia? 

Ya  esta  en  Flandes,  ya  esta  en  Fiantia, 

el  ausente,  ella  niujer  .  .  . 

—  jBien  haya  mi  conilieion! 

— La  Noclie  tohdaiia,  II,  i. 

Or  take  an  inimitable  example  of  a  servant's  Avit ;  he  counsels 
his  master  to  steer  away  from  the  shoals  of  matrimony : 

Considera  una  mujer 

a  tu  lado  al  acostar, 

a  tu  lado  al  levantar, 

J  al  mismo  lado  al  comer; 

luego  otra  noche  a  tu  lado, 

si  el  pie  alargas,  mujer  topa, 

si  quieres  tirar  la  ropa, 

mujer  te  gana  el  euidado; 

si  echas  un  brazo,  mujer; 

si  miras,  a  mujer  miras, 

en  mujer  das  si  respiras, 

y  aun  te  sabra  responder. 

Considerala  tambien 

con  dos  mil  imperfecciones, 

que  no  caben  en  razones 

ni  en  boca  de  hombre  de  bien; 

y  veras  que  esta  Diana, 

que  hoy  como  el  sol  maravilla, 

por  cualquiera  fregoncilla 

querras  trocarla  mafiana. 

— El  Ausente  en  el  higar.  III,  xvi. 

In  the  latter  passage  we  have  the  cynical  attitude  toward 
womankind  of  the  delightful  Esteban,  one  of  Lope's  most  note- 
worthy creations.  But  these  sparkling  and  natural  passages  are 
occasionally  impaired  by  concessions  to  the  current  vogue  of 
poetic  speech.  Perhaps  Lope  yielded  in  this,  as  he  did  in  his 
assimilation  of  literary  inheritances,  to  the  spirit  of  contemporary 
verse.  This  is  all  the  more  to  be  regretted,  because  he  had  per- 
fected his  gift  of  expression  in  many  ways  since  his  experimental 
beginnings.  The  elaborate,  less  facile,  less  plastic  style  of  his 
early  verse  had  given  place  to  simplicity,  grace  and  flexibility, 
to  a  fine  sense  of  fitness  in  word  and  expression,  to  a  variety  of 


DRAMATIC  ART  OF  LOPE  BE  VEGA  .j9 

melody  in  which  sweetness  alternates  with  force  and  depth,  in 
short,  an  abundance  of  qualities  surpassed  by  no  other  Spanish 
poet  and  equalled  by  very  few.    It  is,  therefore,  to  be  regretted 
that  he  included  the  defects  of  conceptismo  and  culto.    Examples    | 
of  the  abuse  of  the  latter  are  by  no  means  excessive,  although   / 
they  increase  in  his  later  style,  that  is,  during  the  last  twelve^ 
or  fifteen  years  of  his  life.     One  of  the  most  striking  examples 
of  Lope's  kind  of  culto  may  be  found  in  la  Noche  de  San  Juan, 
which  has  the  excuse  of  having  been  written  for  a  highly  artificial 
purpose,  namely,  a  court  festival.     A  great  many  passages  of 
this  play  appear  to  have  been  designed  for  the  royal  box,  but  if 
Phillip  and  his  court  family  understood  them  they  should  be 
given  credit  for  extraordinary  powers  of  divination. 

Una  manana  de  abril 

cuando  nueva  sangre  cobra 

cuanto  en  tierra,  en  aire,  en  agua, 

0  corre,  o  vuela  o  se  nioja; 

cuando  por  los  secos  ramos 

nuevo  humor  pimpollos  brota, 

en  euyas  pequeiias  cunas 

estan  los  frutos  sin  forma; 

cuando  Filomenas  dulces 

cantan  y  piensan  que  lloran 

haciendo  musicos  libros 

de  los  alamos  las  copas, 

con  achaques  del  calor 

(invencion  de  gente  moza 

que  contra  el  recogimiento 

tal  vez  por  remedio  toma) 

baje  a  la  casa  del  campo 

cuando  la  celeste  concha 

abierto  el  dorado  nacar 

flores  baiiaba  en  aljofar. 

Llevaba  por  compania 

esas  dos  esclavas  solas 

que  por  el  color  pudieran 

servir  para  el  sol  de  sonibra,  etc..  Act  II. 

Since  every  defect  is  more  fairly  judged  by  comparison  with 
the  works  of  compatriots,  it  is  only  just  to  say  tliat  we  mny  find 
examples  like  the  above  scores  of  times  in  Caldci'ou  and  liis  eon- 


1)0  nn.lMATIC  ART  OF  LOl'I-:   UK    lEGA 

Iciuporai'it's  wlicii  we  should  liiid  l)ul  a  single  instance  in  Lope. 
Let  me  now  give  a  i'ew  more  examples  of  Lope's  conceptismo  and 
cuUo.  as  they  may  aid  in  the  necessary  study  of  one  of  the  features 
of  his  art.  A  good  example  of  concept isnw  consisting  of  a  clever 
series  of  figures  may  be  found  in  the  following  characterization 
of  el  Amor: 

Y  es  nioliuero  el  amor; 

que  tanibien  dentro  del  peelio 

uii  iiioliiio  tiene  hecho 

para  moler  mi  dolor. 

La  piedra  del  pensamiento 

cou  el  agua  de  mis  ojos, 

moliendo  trigo  de  enojos, 

hace  harina  de  tormento. 

De  aquesta  se  cuece  el  pan 

de  dolor  que  me  sustenta; 

que  cuaiKlo  mas  me  alimenta, 

es  euando  menos  me  dan. 

—EI  Molino,   U,   viii. 

Or  the  following  from  la  Viuda  valenciana;  Leonarda  receives 
her  lover  in  the  dark,  so  as  not  to  be  recognized ;  he  says : 

Por  Dios,  que  es  hecho  cruel. 

Ya  me  enciende  el  corazon 

amor  sin  luz,  pues  no  veo; 

que  ha  tocado  en  el  deseo 

como  piedra  el  eslabon. 

Como  el  hombre  que  esta  a  escuras, 

y,  para  encender  luz,  toca, 

fue  en  mi  alma  vuestra  boca, 

que  ha  dado  eentellas  puras. 

Yesca  ha  sido  el  corazon, 

que  era  materia  dispuesta, 

y  el  golpe  fue  la  respuesta, 

y  la  lengua  el  eslabon. 

Tengo  una  luz  encendida 

-en  el  alma,  que  os  ve  y  trata, 

si  el  aire  no  me  la  mata 

de  veros  escurecida. 

No  OS  vea  yo  como  ciego 

dentro  en  la  imaginacion, 

porque  pareee  invencion 

haber  tinieblas  y  fuego. 


DRAMATIC  AET  OF  LOPE  BE  VEGA  61 

Si  no  es  mi  fianza  buena, 
110  se  c'omience  la  historia; 
y  pues  es  limbo  sin  gloria, 
no  sea  limbo  con  pena. 
Sed  vos,  para  que  yo  os  vea, 
como  pintor  extremado, 
que  aunque  la  noehe  ha  pintado, 
deja  luz  con  que  se  vea. 

In  these  we  find  a  relative  simplicity  of  thought ;  but  the  fol- 
lowing forced  play  on  the  concepto,  "ser",  recalls  the  travesty 
in  Don  Quixote  on  "la  razon  de  la  sinrazon."  The  metaphysical 
nature  of  conccptismo  is  also  evident  in  this  passage : 

iCreeras    entonees,    Senora, 
lo  que  estimo  tu  belleza? 
Diras  tu  que  es  mas  riqueza 
ser,  Elena,  mi  mujer; 
y  sabre  yo  responder 
que  aun  el  propio  ser  perdiera, 
si,  no  siendo,  ser  pudiera 
que  fuera  tuyo  sin  ser. 
Pues  quien  dejara  por  ti 
el  propio  ser  en  que  vive, 
no  hara  mucho  en  que  se  prive 
de  lo  que  es  fuera  de  si. 

— La  Esdava  de  su  galdii,  I,  i. 

An  example  of  a  mechanical  heaping  of  brief  conccptos  may 

be  found  in  la  Boha  para  los  otros  >j  discrcta  para  st: 

El  brio  naee  en  las  almas, 

la  ejecucion  en  los  jjechos, 

lo  gallardo  en  el  valor, 

lo  altivo  en  los  pensamieutos, 

lo  animoso  en  la  esperanza, 

lo  alentado   en   el   deseo, 

lo  bravo  en  el  corazon, 

lo  valiente  en  el  despeeho, 

lo  cortes  en  la  prudencia, 

lo  arrojado  en  el  desprecio, 

lo  generoso  en  la   sangre, 

lo  amoroso  en  el  empleo, 

lo  temerario  en  la  causa, 

lo  apaeible  en  el  despejo, 

lo  ])iiidoso  en  el  amor, 
V  lo  terrible  en  los  celos. 


<i:2  1)I;.IM.IT1C  ART  OF  LOPK  DE   ]EGA 

In  most  of  the  passag^os  just  citt'd  the  iiu'tai)liysical  eliaracter 
of  conccptismo  is  absent,  but  it  is  very  frecjuently  present  in  the 
numerous  sonnets  wliicli  Lope  has  introduced  into  his  comedias 
ill  the  form  of  h'tters  or  monologues.  In  many  cases  conceptismo 
may  be  annising  and  unobjectionable  when  combined  with  Lope's 
wit.  Take,  for  example,  the  following  passage  in  la  Esclava  de 
sn  Galdn: 

Eh  no.  {YelSerafin? 

Don  Juan.  Sera  fin. 

Ell  mi  vida  le  vere, 

sino  a  ti,  que  lo  eres  mla. 
Pedro.  iQue  glosa  hacerse  podia! 

Elena.  j,C6niof 

Pedro.  Escucha. 

Elena.  Di. 

Pedro.  Dire. 

Es  el  ti  diininutivo 

del  tu,  y  es  hijo  del  mi, 

porque  le  regala  ansi 

con  el  acento  mas  vivo. 

El  tu  es  bajo,  y  tiple  el  mi. 

Tii  manda,  tu  desafia, 

tu  es  trompeta,  tii  es  coehero; 

ti  es  clarin,  ti  es  chirimia: 

y  por  eso  al  tu  no  quiero, 

sino  a  ti,  que  lo  eres  mia. 

But  Lope's  sane  judgment  always  triumphs,  and  his  ridicule 
of  the  contemporary  vogue  with  its  unpoetic  defects  forms  a 
valuable  contribution  to  the  literary  criticism  of  his  time.  In 
Guardar  y  guardarse  we  have  an  amusing  passage  in  whicl^^  a 
lackey  conjures  his  master  in  culto: 

Bona  Elvira.  jlngrato!     Quejosa  quedo 

de  tu  crueldad. 

Chacon.    (A  su  a  mo.)  ^No  te  mueven 

aquellas   perlas   hermosas, 
que  en  aquel  jardin  de  rosas 
dos  cielos  de  nifias  Uneven? 

Don  Felix  | Cielos  de  ninas,  Chacon? 

Chacon.  I  No  la  ves  hacer  puclieros? 


BBAMATIC  ART  OF  LOPE  DE  VEGA  (33 

Don  Felix  Ojos,  traieion  es  perderos  .  .  . 

— Mas  si  quedarme  es  traieion, 
el  quedarme  dificulto, 
y  el  irme  si  ingrato  soy. 

Chacon.  Para  eonjurarte  estoy, 

Senor,  en  lenguaje  eulto. 
Por  aquel  candor  brillante 
que  viva  luz  y  alma  ostenta, 
aunque  canoro  se  argenta 
el  pielago  naufragante, 
que  de  sus,  te  duelas,  ojos. 

And  in  the  same  play  the  servant  burlesques  the  speech  of  Ines 
who  described  her  mistress  as  she  rises  and  dresses,  in  exaggerated 
culto. 

Chacon.     En  efeto,  Ines,  |esta 
toeandose  tu  senora, 
"y  es  sol  que  los  cielos  dora?" 
Ines.  |,Pues  no? 

Chacon.    .  No. 

Ines.  ^Comienzas   ya? 

Chacon.     Pareceme  que  la  veo 

con   cuarenta  redomillas, 
cofrecillos  y  vajillas, 
ir  por  extraiio  rodeo 
en  busca  de  la  hermosura. 

In  lo  Cierto  por  lo  diidoso  a  very  obscure  sonnet  of  Don  Enrique 
is  ridiculed  by  the  servant  Rarairo  (act  III,  scene  iv).  While 
in  Servir  a  Senor  discreto  we  find  a  characterization  of  culto 
poetry  which  classes  it  as  a  disease : 

Elvira.    Oigo  decir  que  a  poetas 

suele  venirles  furor, 

y  mas  en  cosas  de  amor, 

por  ciertas  causas  secretas. 
Giron.      Dicen  los  libros  verdad. 
Elvira.     Y  aun  un  medico  decia 

que  era  esta  negra  pocsia 

especie  de  enfermedad. 

Sarna,  dijo,  a  lo  divino, 

que  de  uno  en  otro  se  pega, 

porque  se  rasca  y  se  estriega, 

y  es  todo  un  puro  venino. 

Digame,  senor  poeta, 

|,Por  mi  lia  hecho  esta  invencion. 


(;4  DUAMATIC  AUT  OF  iJU'h  DE  TEGA 

The  lir.st  sc'i'iie  of  act  II  of  /(/  liobd  pant  los  ofros  y  discrrfa 
para  si  may  also  interest  the  reader.  But  best  of  all  is  the  fol- 
lowing sonnet  with  which  we  close  Lope's  ridicule  bf  the  current 
l)oetic  fad : 

Conjurote,  denionio  culterano, 

que  saigas  deste  mozo  miserable, 

que  apenas  sabe  hablar,  caso  notable, 

y  ya  presume  de  Anfion  tebauo. 

Por  la  lira  de  Apolo  soberano 

te  conjuro,  cultero  inexorable, 

que  le  des  libertad  para  que  hable 

en  su  nativo  idioma  eastcllauo. 

"^Por  que  me  torques  barbara  tan  mente? 

iQue  cultiborra  y  brindalin  tabaco 

caractiquizan  toda  intosa  frente?" 

" — Habla  ciistiano,  perro.    — Soy  polaeo. 

— Tenedle,  que  se  va.    — No  me  ates,  tente; 

sueltame.    — Aqui  de  Apolo.    - — Aqui  de  Baco. ' ' 

— Fima.s  del  Liccnciado  BxrguiUos. 

The  above  examples  may  suffice  to  show  that  certain  qualities 
of  culto  and  conccptismo  are  not  to  be  wholly  condemned,  that 
they  are  capable  of  rising  to  genuine  expressions  of  beauty  and 
wit,  and  that  their  danger  lay  not  in  their  use  but  their  exag- 
geration and  abuse. 

Inasmuch  as  I  am  merely  attempting  to  give  a  brief  outline 
of  Lope's  dramatic  art  I  cannot  do  justice  at  this  point  to  his 
mind  and  thought,  related  and  fascinating  though  they  be.  In- 
deed, Lope  deserves  to  have  a  comprehensive  work  written  on 
this  subject  on  account  of  the  richness  and  the  wide  scope  of  his 
sympathies.  It  would  be  strange  were  it  otherwise  in  a  dramat- 
ist who  has  composed  so  many  plays  touching  every  human  theme. 
This  does  not  mean  that  Lope  gives  utterance  to  a  distinct  phil- 
osophy any  more  than  does  Cervantes,  unless  unrebellious  acqui- 
escence in  the  constituted  order  of  things  makes  one.  His  point 
of  view  on  a  great  variety  of  questions  concerning  the  individual, 
society  and  the  state  can  be  gleaned  from  his  comcdias.  His 
loyal  religious  attitude,  as  expressed  in  words,  at  least,  is  as 
normal  and  undisturbed  as  that  of  any  man  of  the  people ;  his 
ideas  on  politics  and  society  throw  a  great  deal  of  light  on  the 


DSAMATIC  AliT  OF  LOPE  DE  VEGA  6.3 

current  thought  of  his  time.  In  no  other  sense  is  his  comedia 
a  more  complete  or  satisfactory  picture  of  contemporary  life. 
This  is  the  real,  the  unstudied  Lope  who  presents  an  image  of 
]iis  times  in  those  highly  diversified  thoughts  of  his  innumerable 
characters.  Although  the  elements  of  his  dramatic  formula  may 
be  circumscribed  by  tradition  or  stage  limitations,  still  the 
thought  processes  of  the  great  playwright,  consciously  or  un- 
consciously, filled  his  dialogue  with  some  of  the  best  documentary 
evidence  that  we  possess  on  the  mental  and  spiritual  life  of  the 
men  and  women  of  his  day.  As  regards  the  political  side,  much 
may  be  gleaned  from  the  comedia  on  monarchy,  kingship  and 
government  in  general,  the  utterance  revealing  now  and  then 
a  surprisingly  frank  criticism  of  the  abuses  and  injustices  inher- 
ent in  sovereign  power.  To  be  sure.  Lope  usuall.y  sets  up  hypoth- 
etical cases,  discusses  ideal  states,  and  where  he  chooses  to  give 
detailed  examples  of  evil  deeds  or  impulses  in  rulers,  he  places 
his  action  in  times  long  past  and  presents  a  king  of  distant  cen- 
turies or  foreign  lands.  His  attitude  toward  the  power  and 
jiosition  of  aristocracies  is  on  the  whole  fairly  illuminating,  his 
most  convincing  expressions  being  those  in  which  he  depicts 
injustice,  violence,  depravity,  or  other  vices  of  the  selfish  grand 
seigneur.  No  more  striking  condemnation  than  his  can  be  found 
of  the  undemocratic  existence  of  the  powerful  lord  whose  chief 
principle  is  that  might  makes  right.  But  Lope  is  generally  at 
his  best  when  he  presents  the  Spanish  people,  the  middle  and 
lower  classes  as  they  thought,  spoke  and  acted.  There  can  be  no 
doubt  that  his  heart  was  with  the  great  bourgeoisie  in  spite  of 
all  his  social  intercourse  and  friendliness  with  aristocracy ;  he 
too  would  have  voiced  the  sentiment  so  well  expressed  in  La 
Bruyere's  words,  "Faut-il  opter,  je  suis  peuple." 

One  of  the  most  genuine  notes  in  Lope  is,  therefore,  liis  cham- 
pioning of  the  democratic  spirit  of  the  Spanish  people,  mani- 
fest especially  in  his  pictures  of  the  lower  classes,  his  country 
folk,  his  sane  types  of  the  bourgeois,  together  with  the  simplicity 
of  speech  and  the  sound  common  sense  with  which  the  latter  are 
endowed.     Very  frequently  m'c  find  a  defence  of  the  lowly,  the 


66  dhamatic  jut  of  lote  de  vega 

poor,  llic  un|)rivil('<i:('(l  and  disiiilicritcd  iiu'inhors  of  a  very  im- 
periVct  iorm  ol"  society.  Tliis  does  not  necessarily  imply  any 
incisive  criticism  directed  against  contemporary  conditions,  for, 
as-«tated--aboye,  Lope  was  not^ critical  of  his  times,  nor  was  he 
by  nature  or  gifts  a  satirist  in  any  profound  sense.  He  alsd- 
ehampioned  a  saner  and  if  we  may  call  it  so,  a  freer  position  for 
women,  he  emphasized  agatn  and  a^aiw  the  necessity  of  granting 
them  greater  liberty  of  choice  in  determining  their  own  happi- 
ness in  marriage  or  any  other  state.  He  justified  their  opposi- 
tion to  distasteful  unions  and  their  desire  to  see  and  speak 
freely  with  the  men  they  are  to  marry.  We  reach  this  conclu- 
sion chiefly  by  inference  from  many  scenes  in  his  plays.  Per- 
haps the  exaggerated  liberties  which  some  of  his  women  char- 
acters take,  quite  contrary  to  local  custom,  also  imply  a  desire 
on  Lope's  part  to  see  a  greater  freedom  for  womankind,  realized. 
In  this  connection  we  may  add  that  nowhere  is  the  honor  code  so 
overemphasized  as  in  the  cases  in  which  arbitrary  fathers  or 
brothers  keep  a  hawk-like  vigilance  over  the  actions  of  daughter 
or  sister  lest  she  bring  discredit  on  their  honor  and  name.  These 
pictures  frequently  imply  a  criticism  of  the  selfishness  and  arbi- 
trary authority  of  the  man  and  a  plea  for  a  more  reasonable 
position  for  the  woman. 


DBAMATIC  AET  OF  LOPE  BE  VEGA  67 


LOPE'S  LEARNING:    THE  INFLUENCE  OF  THE  CLASSICS 

A  prominent  feature  of  Lope's  language  is  the  constantly 
recurring  reference  to  classical  authors  and  ancient  themel 
No  element  of  his  speech  is  as  antiquated  as  this,  no  note  of  his 
dialogue  finds  as  little  response  or  awakens  as  little  interest  in 
the  modern  reader.  It  does  not  mend  matters  to  be  told  that  the 
classics  still  formed  a  part  of  the  daily  routine  thought  in  his 
day,  that  the  popularity  of  the  ancients  during  the  Renascence 
represented  a  sympathy  for  antiquity  of  which  we  have  no 
conception.  The  sound  of  the  Latin  language,  although  with  a 
Spanish  pronunciation,  was  familiar  to  man,  woman  and  child 
through  sermon  and  ritual,  and  an  occasional  classical  quotation 
on  the  stage  would  not  be  taken  for  an  absurd  piece  of  pedantry, 
even  if  it  passed  over  the  heads  of  the  listeners.  In  spite  of 
the  unsurpassed  originality  of  the  literature  and  philosophy  of 
the  I^enascence,  imitation  of  standard  classics  was  not  only 
countenanced  but  considered  good  taste.  In  all  this  the  comedia 
was  no  exception.  But  what  a  strange  mixture  this  spirit  of 
imitation  produced!  It  is  fortunate  indeed  for  our  modern  art 
that  these  classic  instances  are  no  longer  dragged  in  whether 
they  fit  or  not.  This  criticism  is  not  altogether  fair,  to  be  sure, 
if  we  judge  literary  tastes  in  the  light  of  Lope's  times.  But 
we  are  attempting  to  present  all  the  reasons  why  the  comedia. 
notably  the  creation  of  Lope,  has  features  which  will  survive 
all  changes  of  taste  while  certain  others  tend  to  reduce  it  to  the 
level  of  a  literary  curiosity. 

It  is  not  my  purpose  to  give  more  than  the  briefest  outline  of 
the  influence  of  the  classics  on  Lope,  as  manifested  in  his  plays. 
The  material  available  for  such  a  purpose  would  fill  many  a 
volume.  But  the  character  of  his  art  will  be  better  understood 
if  the  reader  has  an  idea  of  this  manifestation  in  his  language. 

The  great  body  of  classical  literature,  whether  prose  or  verse, 
reached  the  Renascence  public  of  Spain  through  the  medium  of 


(iS  DUAMATIC  Airr  OF  LOPE  DE   VEGA 

trMiisIalions,  i)()i)ularizi'd  versions,  or  muligosted  compilations 
of  Itaniinj;  of  all  kinds.  The  latter  stricture  may  sound  too 
liai'sli  until  we  wade  tliroufjcli  miscellanies,  jest  books,  classical 
eomnu'utaries,  fiction,  or  philosophic  discussions  on  the  ancients, 
whose  utterances  were  now  and  then  presented  in  a  form  hardly 
recognizable  by  the  authors.  The  same  is  true  of  dramas,  lyric 
vei-se,  chronicles  and  the  rest,  the  authors  of  which  seem  impressed 
with  the  necessity  of  winning  prestige  by  citing  classical  authors 
when  and  wherever  possible.  In  the  majority  of  cases,  there- 
fore, the  influence  of  the  classics  reduces  itself  to  common-places. 
Only  in  the  rarer  cases  of  such  profoundly  learned  men  as 
Quevedo,  the  most  striking  intellect  of  his  time,  we  find  a 
thoroughly  satisfactory  acquaintance  with  the  classics.  Lope 
stands  halfway  between  Quevedo  and  the  popular,  superficial 
presentation  of  classical  material.  He  is  acquainted  with  every 
author  of  old,  every  type  of  ancient  literature  is  known  to  him. 
Of  the  Greeks  direct  reference  to  Plato  seems  to  me  to  be  the  most 
common,  and  this  nnist  be  due  chiefly  to  the  existence  of  neo- 
platonic  literature,  to  its  interpreters,  commentators,  and  imita- 
tors who  gave  voice  to  its  philosophy.  Of  the  latter,  Leon  Hebreo 
is  mentioned  most  frequently  by  Lope,  and  his  Avorks  occupy  a 
prominent  place  in  any  consideration  of  this  influence.  They 
contributed  to  Lope's  comedia  a  peculiar  metaphysical  language 
evident  in  discussions  of  love,  beauty,  desire  and  the  like.  Aris- 
totle, too,  is  mentioned  with  reference  to  his  Ethics,  his  treatise 
on  the  soul  and  his  work  on  animals.  Among  the  historians 
Herodotus  occupies  the  first  place,  as  far  as  I  am  aware,  his 
style  of  narrative,  his  fiction  and  folk-lore  elements  being  more 
appreciated  than  the  writings  of  more  scientific  historians  like 
Thucydides.  Of  the  Greek  dramatists  I  have  noticed  only  occa- 
sional and  unimportant  reminiscences.  The  writers  of  later 
ages  were  also  known  to  Lope,  especially  Plutarch,  whose  Moralia 
exerted  an  influence  all  through  the  Renascence  not  to  be  over- 
stated. I  am  of  the  opinion  that  the  influence  of  Plutarch's 
Lives  was  not  so  great.  To  us  it  may  be  astounding  that  the 
name  of  this  writer  should  have   carried  with  it  such  extra- 


DRAMATIC  ART  OF  LOPE  BE  VEGA  69 

ordinary  weight ;  yet  even  so  great  a  thinker  as  Montaigne  is 
full  of  Plutarch's  animadversions,  some  of  which  have  the  stamp 
of  the  commonplace.  But  it  must  be  remembered  that  the  note- 
worthy translations  of  Amyot  in  France  and  Diego  Gracian  in 
Spain  were  much  read  books.  Lope  must  have  known  the  latter 
well.  Much  more  recent,  but  still  belonging  to  Greek,  literature, 
are  the  Byzantine  romances,  Theagenes  and  Karikleia,  KUtophon 
and  Leukippe,  and  others  which  were  known  in  Lope's  day 
through  Spanish  and  Italian  versions.  They  are  responsible  for  a 
few  romantic  or  episodic  features  in  the  comedia. 

By  constantly  uniting  the  names  of  Homer  and  Vergil,  the 
fusion  of  the  influence  exerted  by  the  Iliad,  the  Odysseij  and  the 
Aeneid,  became  inevitable.  It  would  be  difficult  to  find  a  promi- 
nent character  in  any  one  of  these  epics  who  is  not  mentioned  by 
Lope.  The  stories  of  Ilium  and  Rome,  the  adventures  of  Ulysses, 
the  tales  of  Helen  and  Dido,  pathetic  and  semiscandalous,  the 
charms  of  Circe,  the  youthful  beauty  and  valor  of  Achilles,  these 
and  scores  of  other  characters  and  episodes  are  mentioned  again 
and  again.  The  chief  Latin  poets,  too,  are  well  known  to  Lope, 
Ovid  holding  a  very  prominent  place,  followed  by  Horace, 
Catullus,  Juvenal,  Martial  and  others.  I  spoke  briefly  of  Ovid's 
influence  on  Lope  in  my  book  on  that  Latin  poet  and  the  Rena- 
scence. I  need  supplement  what  I  said  there  merely  by  adding 
that  scores  of  Lope's  plays  show  a  very  profound  indebtedness 
to  the  thoughts,  episodes  and  amorous  principles  of  the  Meta- 
morphoses, the  Ars  Amatoria,  the  Remedia  Anions,  and  the 
Heroides. 

The  Latin  poets  proved  a  mJne  of  information  on  the  gods, 
and  demigods,  the  heroes  and  heroines  of  legend  and  mythology. 
Venus  and  Adonis,  Cupid  and  Psyche,  Orpheus  and  Eurydice, 
Jason  and  Medea,  Perseus  and  Medusa,  Pygmalion  and  Galatea, 
the  labors  of  Hercules  and  the  stories  connected  with  the  Golden 
Fleece,  semihistorical  heroes  of  Greek  and  Roman  history,  to 
mention  some  instances  disconnectedly  and  at  random,  these  and 
scores  of  others  appear  on  Lope's  pages  again  and  again. 

The  numerous  anecdotes  connected  with  classical  antiquity. 


7(t  in:. iM. trie  .uir  of  i.ovk  de  vkha 

hioirrapliical  details  of  famous  men  and  the  like,  were  taken 
chietly  from  eompilatious  whicli  in  their  lui'n  extracted  them 
from  liistoi'ians  and  biographers,  sueh  as  Li\\-,  Tacitus,  Suetonius 
and  others.  One  prominent  work  whieli  furnished  Lope  witli 
innumerable  bits  of  lore  and  nonsense  concerning  nature  and 
the  aninuU  kingdom  was  Pliny's  Natural  History.  No  bird  or 
beast  was  too  strange  or  rare  to  have  its  existence  vouched  for 
by  Pliny  or  his  Renascence  commentators  who  have  won  an 
immortal  place  among  "the  spinsters  and  knitters  in  the  sun," 
or  ''las  viejas  que  dicen  consejas  tras  el  fuego."  The  matter 
available  for  a  study  on  the  influence  of  Pliny  alone  would  make 
several  large  and  entertaining  books. 

Among  Latin  works  of  fiction  the  chief  place  is  occupied  by 
the  Golden  Ass  of  Apuleius;  its  uovelistic  incidents  are  full  of 
vivacity  and  originality  and  prompted  imitation  among  drama- 
tists and  novelists  alike.  Reference  to  medical  treatises,  espe- 
cially Galen,  to  books  on  natural  phenomena,  superstitions  and 
the  like,  abound,  but  cannot  be  discussed  now.  How  much  of  all 
this  was  beyond  the  intelligence  of  the  audience  when  recited 
on  the  stage  is  difficult  to  determine.  Suffice  it  to  say  that  ser- 
vants, lackeys,  ruffians  and  courtesans  are  not  ignorant  of  things 
classic,  and  that  we  must  take  for  granted  that  all  this  material 
was  in  the  air  and  the  common  possession  of  all  people. 

References  to  biblical  characters  and  episodes,  above  all  the 
Old  Testament,  are  not  uncommon,  but  by  no  means  as  frequent 
as  those  just  treated.  Their  presence  in  plays  of  a  religious 
character  is  natural,  but  a  discussion  of  them  falls  without  the 
scope  of  this  essay. 


DBAMATIC  ATxT  OF  LOPE  BE  VEGA 


LOPE'S    ACQUAINTANCE    WITH    CONTEMPORARY    LITERATURE 

Among  the  meagre  autobiographical  details  which  Lope  has 
given  us  in  his  Dorotea  a  statement  concerning  his  education,  his 
reading  and  literary  taste  in  general  is  of  interest.  He  there 
tells  us  in  the  part  of  Don  Fernando : 

de  la  eclad  que  digo  ya  sabia  yo  la  gramatica,  y  no  ignoraba  la  ret(5rica; 
deseubri  razonable  iiigenio,  prontitud  y  doeilidad  para  cualquiera  cicncia ; 
pero  para  lo  que  mayor  le  tenia  era  para  versos;  de  suerte  que  los  carta- 
pacios  de  las  liciones  nie  Servian  de  borradores  para  mis  pensamientos,  y 
muclias  veces  mas  escribia  en  versos  latinos  o  castellanos.  Comenee  a 
juntar  libros  de  todas  letras  y  lenguas;  que  despues  de  los  principios  de  la 
griega  y  ejercicio  graude  de  la  latina,  supe  bien  la  toscana,  y  de  la  fran- 
cesa  tuve  uotieia. 

This  tells  us  three  things  in  regard  to  Renascence  literature: 
that  French  was  not  unknown  to  Lope,  that  he  was  well  ac- 
quainted with  Italian,  and  that  he  was  ever  occupied  in  reading 
and  writing  Spanish  verse.  If  we  limit  ourselves  only  to  the  evi- 
dence of  the  comedia,  this  conclusion  is  everywhere  corroborated. 
Although  Lope  may  have  known  something  of  the  French  lan- 
guage, I  find  practically  no  evidence  of  any  acquaintance  with 
contemporary  French  literature.  On  the  other  hand,  he  must 
have  read  Italian  extensively,  while  every  Spanish  j^oet  or  col- 
lection of  Spanish  verse  must  have  been  known  to  him. 

With  regard  to  Italian  literature,  the  novellieri  from  Boc- 
caccio on,  including  the  extensive  collections  of  the  fifteenth  and 
sixteenth  centuries,  were  familiar  ground  to  Lope.  Some  of  his 
plots  are  not  only  directly  traceable  to  Italian  novelle,  but  cer- 
tain episodes  of  others  betray  all  the  marks  of  Italian  influence. 
This  is  logical,  if  we  recall  that  Spanish  literature  offered  but 
little  in  this  style  of  fiction,  that  in  the  field  of  the  short  story 
we  have  to  deal  with  hardly  more  than  third  rate  imitations  of 
Italian  sources  until  we  reach  the  novclas  of  Cervantes,  which 
strike  the  first  independent  note  of  importance.  Italian  litera- 
ture of  chivalry  was  also  known  to  Lope,  especially  the  epics 


71'  DRAMATIC  Airr  OF   LOPE  DK   VEGA 

of  I'.oiai'do,  Ariosto  ami  Tasso,  wiiilc  Daiilc  and  Pcti-arcli  are 
frtMUK'Mtly  iiu'iitioiiod,  or  some  thouglit  of  theirs  is  repeated. 
Among  the  jioets  the  influence  of  Petrarch  overshadows  that  of 
all  others,  not  only  because  of  the  warm,  living  qualities  of  his 
verse,  but  beeause  his  spirit  had  already  been  assimilated  by 
so  many  Spanish  poets  before  Lope's  day.  All  this  deserves 
an  extensive,  separate  study  in  so  far  as  it  throws  light  not  only 
on  the  growth  of  Spanish  lyric  verse,  but  also  on  certain  poetic 
elements  of  Lope's  artistic  formula. 

As  regards  Lope's  extraordinary  ac(piaintance  with  Spanish 
verse  the  fact  that  the  large  body  of  Renascence  lyrics  had  become 
bone  of  his  bone  and  flesh  of  his  flesh  would  be  evident  from  his 
works  at  every  turn,  even  if  we  chose  "to  limit  ourselves  to  the 
testimony  of  the  comedia.  Again  and  again  he  speaks  of  the 
chief  poets,  and  a  study  of  all  the  names  mentioned  would  make 
a  comprehensive  history  of  contemporary  literature.  As  Avas 
the  case  Avith  Cervantes,  Lope's  great  model  seems  to  have  been 
Garcilaso,  whose  musical  line  and  unerring  good  taste  very 
justly  placed  him  out  of  reach  of  any  adverse  criticism  and  made 
him  the  model  for  the  sixteenth  and  seventeenth  centuries.  It 
would  be  futile  to  give  most  of  the  names  which  Lope  mentions 
since  his  own  fine  tact  and  delicate  touch  made  him  appreciate 
the  best  which  that  astoundingly  productive  period  had  to 
offer. 

In  prose  literature  Lope  was  no  less  at  home  than  in  verse, 
but  the  type  "which  he  mentions  most  frequently  in  ^he  comedia 
is  the  pastoral  romance.  His  manner  of  referring  to  it  lead^  me 
to  believe  that  he  considered  it  the  only  other  type  of  literature 
outside  of  verse  production  with  artistic  finish.  And  this  is  so. 
The  pastoral  novel  has  paled  after  all  these  years,  above  all 
its  artificiality  is  evident  to  us,  but  the  fact  remains  that  it  very 
often  reaches  high  poetic  levels  which  rightly  give  it  a  place  be- 
side lyric  verse.  Of  far  greater  importance  is  the  Celestina,  and 
Lope,  who  no  less  than  the  author  of  that  unique  work  is  a  master 
of  dialogue  and  of  the  expression  of  passion,  imitates  it  both  con- 
sciously and  unconsciously  in  many  scenes  of  his  plays.     Refer- 


DEAMATIC  AST  OF  LOPE  BE  VEGA  73 

ences  to  the  story  of  Calisto  and  Melibea  and  to  the  great  figure 
of  Celestina  herself  are  a  common  occurrence,  while  similarities 
in  style,  language  and  episodes  can  be  pointed  out  Avitli  fre- 
quency. The  indebtedness  of  Lope  to  any  single  creation  is 
not  very  pronounced,  but  if  there  is  an  exception  to  this  rule, 
it  is  the  Celestina,  which  made  a  deep  impression  upon  him  as 
well  as  upon  all  the  writers  of  the  Renascence.  I  have  else- 
where treated  the  influence  of  this  remarkable  book  upon  Lope's 
Dorotea  and  his  el  Caballero  de  Olmedo,  which  are  good  examples 
of  how  the  spirit  of  the  w^hole  work  manifested  itself  in  the 
comedia.  As  regards  the  Dorotea,  I  am  inclined  to  see  in  that 
strange  play  an  extremely  artificial  fabric  in  which  Gerarda,  a 
wonderful  imitation  of  Celestina,  is  practically  the  only  living 
character,  the  others  being  too  often  spoiled  by  a  display  of 
pedantry,  academic  dulness  and  bad  art.  The  romances  of 
chivalry,  contemporary  chapbooks  containing  such  novels  as  la 
Doncella  Teodor,  besides  novels  of  love  and  adventure,  were 
known  to  Lope,  nor  need  I  speak  of  the  chronicles,  lives  of  heroes 
and  saints  from  which  he  borrowed  ideas  and  plots.  Finally,  the 
late  Menendez  y  Pelayo  has  on  various  occasions  pointed  out  how 
unlimited  is  Lope's  acquaintance  with  the  great  body  of  national 
romances  or  ballads.  If  any  further  evidence  were  required  to 
prove  that  his  memory  was  as  prodigious  as  his  inventive  genius, 
his  acquaintance  with  the  popular  and  traditional  poetry  of  his 
people  would  more  than  prove  his  case. 


74  DliAMATIC  AUT  OF   I.OI'E   l>E    IKGA 


8().MK    TECHNICAL    FKATURKS    OF    LOPE'S    ART:      EXPOSITION, 
PLOTS,   RECURRING    THEMES 

Inasmuch  as  Lope's  inventive  genius  is  characterized  by  free- 
dom and  spontaneity,  he  was  at  his  best  whenever  the  plot  was 
wholly  his  own  creation.  A  mere  suggestion  was  enough  to  give 
him  an  idea  for  a  whole  play.  It  is  therefore  clear  that  he  must 
have  been  hampered  in  his  construction,  in  the  sequence  of  his 
conception  of  scenes  and  episodes,  when  he  undertook  to  repro- 
duce dramatically  a  ready-made  story.  In  so  vast  a  creation 
as  his  comedio  we  are  enabled  to  reach  the  good  productions 
only  by  an  elimination  of  the  inferior  ones,  and,  to  me,  his  least 
V  inspired  plays  are  almost  always  based  on  borrowed  plots.  These 
were,  for  the  greater  part,  taken  from  fiction  sources,  chiefly 
Italian,  and,  therefore,  absorbed  many  episodic  adventure  ele- 
ments which  strike  a  false  note  on  the  stage.  They  represent 
an  artistic  blunder,  and  spoil  a  certain  portion  of  his  work.  It 
would  add  but  little  to  my  argument  to  mention  here  the  many 
plays  related  to  stories  of  Boccaccio,  Bandello  and  others,  but 
the  influence  of  Italian  novelle  throws  a  certain  light  upon  his 
plot  construction.'  In  certain  plays  which  may  be  characterized 
as  extravanganzas,  or  novels  in  dialogue,  we  may  note  that  Lope 
hesitates  to  localize  them  in  Spain,  for  he  gives  the  plot  an 
Italian  background  as  if  to  make  the  spectator  believe  that  the 
events  of  his  play  are  more  likely  to  take  place  outside  of  the 
Peninsula.  I  refer  also  to  plays  in  which  Lope  made  concessions 
to  improbable  romantic  themes,  ill-suited  to  any  stage,  and 
though  these  may  have  been  acted  in  an  amusing  way,  they  add 
nothing  original  or  enduring  to  his  artistic  formula.  Take,  for 
example,  el  Alcalde  mayor  in  which  the  heroine's  lover  is  im- 
plicated in  a  murder  plot ;  she  flees  to  Salamanca  disguised  as  a 
man,  attains  the  degree  of  doctor  after  years  of  study,  and  being 
considered  worthy  of  higher  honors  she  finally  becomes  "alcalde 
mayor  of  Toledo."     As  such  she  again  meets  her  lover  and  all 


DRAMATIC  AFT  OF  LOPE  BE  VEGA  75 

mysteries  are  cleared  up.  Or  take  Servir  a  Se)lor  discreto,  in 
which  a  tyrannical  father  favors  an  aged  suitor  of  his  daughter. 
The  latter  consequently  throws  herself  into  the  arms  of  a 
younger  and  more  acceptable  lover.  But  the  young  man,  of 
humble  fortune  and  station,  sets  out  for  Madrid  in  order  to 
improve  his  position,  whereupon  daughter  and  father  follow 
him  to  the  capital.  In  Madrid  the  young  lover  assumes  the  posi- 
tion and  fortune  of  a  certain  "Senor  discreto"  whose  service  he 
had  entered,  and  thus  he  is  enabled  to  win  the  lady  of  his  affec- 
tions. In  los  Embustes  de  Celauro  there  is  an  inartistic  confusion 
of  themes  taken  from  fiction  and  folklore,  while  even  la  Viiida 
valenciana,  one  of  the  most  charming,  sparkling  and  poetic  crea- 
tions from  Lope's  pen,  is  marred  by  an  occasional  jarring  note 
due  to  concessions  to  these  elements.  It  is  also  of  interest  to 
observe  that  Lope,  who  did  not  fail  to  touch  every  conceivable 
dramatic  note,  suggests  the  lines  along  which  the  subsequent 
drama  of  fate,  which  the  Germans  called  the  Schicksalsdranm, 
was  conceived.  In  los  Comendadores  de  Cordoba  the  two  crim- 
inal lovers  are  warned  of  their  impending  fate  by  unexpected 
occurrences,  and  in  el  Cahallero  de  Olmedo,  one  of  the  great 
masterpieces  of  the  siglo  de  oro,  don  Alonso  is  forewarned  of  his 
tragic  end  in  a  profoundly  impressive  manner.  On  the  whole  i  ^ 
Lope's  great  comedies  are  those  which  deal  with  a  simple  theme, 
handled  with  extraordinary  lightness  and  grace,  a  theme  which 
plays  flexibly  and  quickly  with  an  idealized  form  of  Spanish 
society,  while  his  best  tragedies  are  based  on  subjects  so  intense 
and  so  overwhelming  that  there  is  little  room  for  the  accessories 
of  unrelated  novelistic  material. 

One  of  Lope's  chief  claims  to  being  a  complete  master  of  his  ^ 
art  is  his  exposition.  In  most  of  his  plays  the  opening  could 
not  be  improved  upon.  But  we  realize  that  he  wrote  altogether 
too  much  to  carry  this  perfection  to  the  end  of  every  plot,  and 
no  special  critical  acumen  is  necessary  to  note  that  some  of  his 
plays  betray  a  distinct  falling  off  in  the  construction  as  they 
proceed.  Having  conceived  his  formula  with  its  dominating  ele- 
ment of  rapidity  of  action,  the  great  simplicity  of  almost  every 


< 


76  I)I;AMATIC  art  of  lope   !)[•:    lEGA 

exposition  is  normally  modified  as  we  move  forward  by  the  addi- 
tion of  subplot,  secondary  action  or  explanatory  scenes,  and 
wlicn  the  audience  possesses  all  the  factors  necessary  to  under- 
stand the  story.  Lope  is  merely  concerned  with  his  forward 
process,  with  weaving  in  and  out  action,  counter-action,  senti- 
ments, cross-purposes,  and  impulses  until  he  comes  to  the  logical 
end  of  his  various  threads,  or  chooses  arbitrarily  to  cut  his  skein. 
The  usual  analysis  of  Lope's  characters  fails  to  lay  stress  on  the 
fact  that  in  rapidity  of  action  impulses  must  dominate  over 
reason  and  deliberation  because  the  latter  demand  too  many 
delaj^s  to  fit  into  his  formula. 

Another  mistaken  procedure  pointed  out  above  is  that  of 
appb'ing  the  principles  of  other  national  dramas  to  the  comedia. 
No  other  type  of  play  in  the  world  is  so  thoroughly  an  improvised 
creation  as  that  of  Lope.  As  a  highly  endowed  musician  may  sit 
down  at  an  instrument  and  compose  without  premeditation,  so 
Lope  always  had  at  his  disposal,  without  any  seeming  effort,  all 
the  unusual  gifts  w^hich  nature  had  so  generously  bestowed  on 
him.  It  is,  therefore,  futile  to  look  for  deliberate  processes, 
mechanical  construction  or  a  conscious  rearing  of  his  artistic 
edifice.  Careful  scrutiny  of  the  majority  of  Lope's  plays  reveals 
that  he  had  no  fixed  conception  of  dramatic  steps  purely  by  acts 
and  scenes,  and  only  a  sense  of  forward  movement,  of  progressive 
exits  and  entrances,  Avhich  carry  the  game  through  its  successive 
steps  until  an  end  satisfactory  to  the  author  is  reached.  In 
many  cases  the  solution  could  be  attained  earlier  in  the  play,  but 
the  fanciful  creation  of  new  impulses  bridges  every  gap  until 
the  improvisor  sees  fit  to  stop.  Inasmuch  as  the  dramatic 
formula  of  Lope  depends  entirely  upon  a  successful  opening, 
and  thereafter  upon  rapidity  of  procedure,  he  Avas  wont  to 
observe  carefully  what  kind  of  exposition  won  his  hearers,  nor 
did  he  hesitate  to  repeat  such  scenes  if  popular.  A  good  example 
of  this  repetition  can  be  found  in  la  discreta  Enamorada  (Act  I, 
scene  i),  and  el  Acero  de  Madnd  (Act  I,  scene  ii)  ;  in  the  former 
mother  and  daughter  enter  followed  by  a  young  gallant,  while  in 
the  latter  it  is  an  aunt  with  her  niece.     The  dialogues  are  verv 


DRAMATIC  ART  OF  LOPE  BE  VEGA  77 

similar.  A  study  of  model  expositions  might  also  be  made  in 
such  plays  as  el  Premio  del  hien  hablar,  la  Moza  de  Cdntaro, 
Quien  ama  no  haga  fieros,  los  Melindres  de  Belisa,  el  Domine 
Lucas,  not  to  mention  scores  of  others  like  Fuente  Ovejuna, 
Peribdnez  y  el  Comendador  de  Ocaiia,  and  los  Comendadores  de 
Cordoha  of  tragic  content. 

As  a  consequence  of  all  this  we  must  be  prepared  for  recur- 
ring themes  not  only  at  the  opening  of  Lope's  plays,  but  woven 
into  the  bodies  of  the  plots.  Although  this  element  of  repetition 
has  been  ascribed  to  popular  applause,  it  was  a  logical  result  of 
the  superhuman  amount  which  he  produced.  I  have  already 
touched  on  some  of  his  more  common  stage  devices,  such  as  tricks 
which  enable  the  lovers  to  converse,  the  stumbling  theme,  acci- 
dents upon  the  highway,  disguises  of  all  kinds,  concealment,  the 
entrance  of  a  messenger  who  pretends  to  be  a  hawker  or  vendor 
of  ladies'  articles,  or  books  and  the  like,  all  of  which  generally 
produce  light  and  sparkling  episodes.  A  character  who  enjoyed 
great  popularity,  whether  male  or  female,  was  the  simpleton 
{hoho  and  hoha)  either  real  or  feigned,  and  by  this  I  do  not  mean 
the  gracioso,  but  one  of  the  leading  characters.  Examples  are 
la  Dama  hoha,  la  Boha  para  los  otros  y  discreta  para  si,  el  Boho 
del  Colegio,  and  many  others.  Among  the  more  serious  themes 
which  recur  is  that  of  parental  authority,  or  of  that  of  uncle  or 
brother,  involving  questions  of  honor  and  morality.  Although 
Lope  frequently  praises  modesty,  humility  and  other  domestic 
traits  in  woman,  he  also  advocated,  if  not  always  by  direct  propa- 
ganda, a  freer  and  saner  social  position  for  her.  He  presents 
his  plea,  as  I  have  stated  above,  more  by  making  plain  the  abuses 
to  which  the  subservience  of  womankind  may  lead. 

A  highly  dramatic  theme  is  the  protection  of  a  murderer 
by  a  relative  of  the  murdered  man  who  is  ignorant  of  the  nature 
of  the  crime  or  not  aware  of  the  identity  of  victim  and  murderer. 
Again,  in  other  dramas,  in  which  some  criminal  plot  is  afoot,  the 
personage  who  is  an  obstacle  to  the  plotter  must  be  removed,  and 
this  object  is  achieved  in  an  arbitrary  manner  by  entrusting  to 
the  former  some  distant  military  post,  or  some  official  occupation 


7s  I)  i:  AM  A  TIC  Airr  of  loi'K  />/•;  iFdA 

which  may  lake  him  out  ol"  Ihc  way  for  a  sufficient  space  of  time. 
Tlie  eliief  tlieine  of  tliis  kind  of  plot  is  the  base  desire  of  some 
one  hi{j;li  in  authority  to  possess  the  wife,  fiancee  or  sister  of 
a  vassal  or  dejiendent,  a  theme  very  old  in  fiction,  so  that  many 
examples  could  be  cited.  Among  them  is  the  well-known  .story 
contained  in  Juan  ]\Iann(4's  J.ihro  de  Patronio:  "De  lo  que 
contescio  a  Saladin  con  una  buena  dueiia,  mujer  de  un  caballero 
su  vasallo. ' '  Saladin  washes  to  seduce  the  wife  of  a  vassal ;  he, 
therefore,  creates  him  mayoral  and  sends  him  to  distant  lands, 
but  his  evil  scheme  is  frustrated  by  the  wdse  conduct  of  the  wife. 
The  reader  will  also  recall  that  in  the  story  of  David,  Bathsheba 
and  Uriah  we  have  a  variant  of  the  same  theme. 

We  may  summarize  certain  features  of  Lope's  technique  as 
follows:  exits  and  entrances  are  treated  more  arbitrarily  and 
whimsically  than  would  be  permissible  in  less  spontaneous  drama, 
tlie  characters  moving  rather  with  the  motive  force  of  Lope's 

J  fancy.  His  conception  of  time  is  so  indefinite  as  to  make  us 
believe  that  in  the  vast  majority  of  his  plays  the  question  of  a 
limited  number  of  hours,  days  or  even  months  w^as  entirely  dis- 
regarded. The  audience  was  transported  into  an  idealized  world 
not  confined  by  the  limits  of  the  stage  nor  controlled  by  the  usual 
flight  of  time.  In  a  number  of  plays  Lope  falls  into  the  technical 
error  of  leaving  the  stage  empty  various  times  during  an  act. 
Take  for  example,  la  Esclava  dc  su  galdn,  in  which  on  twelve 
separate  occasions  every  person  quits  the  stage  leaving  the  plot 
disconnected  and  so  interfering  with  smooth  action.  Finally,  as 
regards  the  frequent  interw-eaving  of  a  subplot,  this  feature  was 
very  often  a  necessary  addition  to  the  principal  action,  giving 
more  body  to  the  main  plot  when  it  was  thin  and  w^eak  in  con- 
tent. It  also  furnished  matrimonial  material  for  the  secondary 
characters.  Cervantes  ridiculed  this  device  of  having  everybody 
married  off  at  the  end  of  the  play  in  his  comedy  la  Entrcicnida. 
Exaggeration  in  the  heaping  of  tone  and  color  effect  is  rare 

f\n  Lope,  and  consequently  his  great  themes  are  seldom  marred, 
as  in  los  Comendadores  de  Cordoba  where  the  spirit  of  vengeance 
of  the  Veinticuatro  consciously  turns  into  a  sanguinary  chase, 


DEAMATIC  AET  OF  LOPE  BE  VEGA  79 

and  the  tragic  close  fails  to  maintain  the  solemn  grandeur  of 
the  rest.  The  apparent  defects  of  Lope's  formula  are  due  to  an 
excessive  number  of  combinations  of  recurring  elements  which 
are  entirely  possible  and  acceptable,  if  the  probability  of  the 
resulting  picture  be  not  too  closely  compared  with  actual  human 
society.  The  technique,  notably  the  structure  of  Lope's  comedia, 
has  frequently  been  compared  with  that  of  less  inspired  but  more 
careful  Avriters  like  Alarcon  or  Moreto  to  his  disadvantage.  Yet 
nothing  can  take  from  his  art  the  claim  to  a  unique  charm  of 
presentation  unlimited  in  its  variety,  a  sound  mixture  of  youth 
and  maturity  which  never  knew  the  touch  of  old  age,  a  knowledge 
of  the  depths  of  human  experiences  without  overemphasizing 
their  weight  on  the  soul,  a  comprehensiveness  of  poetic  expres- 
sion which  makes  every  attempt  at  comparison  futile  and  every 
effort  of  analysis  unsatisfactory. 


80  DHAMATIC  AUT  OF   l.OPE   DE   VEGA 


DIALOOrE.   MONOLOGUE,  AND   NARRATIVE 

No  task  seems  more  liopeless  at  tlie  outset  than  a  discussion 
of  Lope's  dialogue,  so  astounding  is  its  variety,  so  vast  its  range 
in  tone,  color,  feeling,  speech  and  situation.  No  critical  presen- 
tation can  embrace  more  than  a  part  of  his  work,  nor  can  a 
limited  number  of  examples  hope  to  give  more  than  a  bare  sug- 
gestion of  all  the  forms  of  emotion,  thought  and  experience  for 
which  Lope  has  found  expression.  Any  specimen  taken  out  of 
its  content  cannot  give  the  full  measure  of  the  effect  intended,  a 
thing  especially  so  in  the  case  of  comedy.  But  the  examples 
which  I  have  chosen  may  suffice  to  show  his  masterly  touch.  The 
number  of  his  genuinely  comic  scenes  cannot  be  counted,  and  no 
better  reason  could  be  alleged  for  giving  unstinted  praise  to  his 
miraculous  inventive  power  than  the  hundreds  of  plays  with 
which  he  unceasingly  amused  the  Spanish  public. 

In  his  tragedies  Lope  has  shown  a  remarkable  gift  of  impress- 
ing the  audience  by  the  sudden  and  unexpected  tragic  turns  in 
the  career  of  hero  or  heroine.  This  is  the  case  where  light 
dialogue  is  followed  by  an  event  entirely  changing  the  face  of 
things.  Thus  in  la  Moza  de  cdntaro  the  heroine  is  discussing 
with  her  maid  the  qualities  of  her  many  suitors  when  her  aged 
father  enters,  and  tells  her  of  a  mortal  affront  inflicted  upon  him, 
the  result  of  which  alters  her  whole  career. 


Luisa. 

Don  Diego  esta  eonfiado; 

joyas  te  ha  hecho  famosas. 

Dona  Maria. 

£ Jovas? 

Luisa. 

Y  galas  costosas; 

hasta  coclie  te  ha  comprado. 

Dona  Maria. 

Dou  Diego  de  noche  y  coche. 

Luisa. 

jDe  noehe  un  gran  caballero! 

Dona  Maria. 

Mas  jay  Dios!  que  no  le  quiero 

para  don  Diego  de  noehe. 

Otra  le  goce,  Luisa, 

no  yo.     jDe  noche  visiones! 

Luisa. 

Oigo  Unas  tristes  razones. 

DBAMATIC  AET  OF  LOPE  BE  VEGA 


81 


BoTia  Maria. 
Luisa. 


Don  Bernardo. 
Dona  Maria. 


Don  Bernardo. 


Dona  Maria. 
Don  Bernardo. 


Dona  Maria. 


Don  Bernardo. 


Volviose  en  llanto  la  risa. 
^No  es  este  mi  padre? 

El  es. 
{Don  Bernardo,  de  hdbito  de  Santiago,  eon  un, 

lienso  en  Jos  ojos.     Dichas.) 
jAy  de  mi! 

Seiior,  ^que  es  esto? 
Vos  llorando  y  deseompuesto, 
jy  yo  no  estoy  a  esos  pies! 
I^Que  teneis,  padre  y  senor, 
mi  solo  y  unico  bien? 
Vergiienza  de  que  me  ven 
venir  vivo  y  sin  honor. 
^Como  sin  honor? 

No  se. 
Dejame,  por  Dios,  Maria. 
Siendo  vos  vida  en  la  mia, 
|,Como  dejaros  podre? 

^Habeis  acaso  caido? 
Que  los  anos  muehos  son. 
Cayo  toda  la  opinion 
y  nobleza  que  he  tenido. 

No  es  de  los  hombres  Uorar; 

pero  lloro  un  hijo  mio 

que  esta  en  Flandes,  de  quien  fio 

que  me  supiera  vengar. 

Siendo  hombre,  llorar  me  agrada; 

porque  los  viejos,  Maria, 

somos  ninos  desde  el  dia 

que  nos  quitamos  la  espada. 

Sin  color,  y  el  alma  en  calma, 

OS  oigo,  padre  y  seiior; 

mas  ^que  mueho  sin  color, 

si  ya  me  teneis  sin  alma? 

I  Que  habia  de  hacer  mi  hermano? 

|,De  quien  os  ha  de  vengar? 

In  cl  Cahallero  de  Olmcdo  extraordinary  naturalness,  vivacity 
and  wit  running  through  more  than  two  acts  make  as  delightful 
comedy  as  Lope  ever  penned,  the  whole  giving  place  suddenly  to 
a  brief  and  tragic  close.  The  happy  days  of  Don  Alonso's  court- 
ship are  gradually  filled  with  a  foreboding  of  his  untimely  end 
and  few  effects  which  Lope  has  devised  are  artistically  more 
successful ;  he  is  returning  home  at  night  after  the  ci-owning  day 
of  his  career : 


Dona  Maria. 


82 


Dh'.iM.rnc  Airr  of  lope  dk  vkca 


Don  Aloiiso.  .  .  .   jQue  est-uridad!     Todo  es 

horror,  hasta  que  el  aurora 

eu  las  alfombras  ile  Flora 

ponga  los  dorados  pies. 

Alii  cautaii.     ^Quien  sera? 

Mas  sera  algiiu  labrador, 

que  eaniina  a  su  labor. 

Lejos  parece  que  esta; 

I^ero  acercando  se  va. 

Pues   jcomo!     Lleva  instrumeuto, 

y  no  es  rustico   el   acento, 

sino  sonoro  y  siiave. 

iQue  mal  la  niusica  sabe, 

si  esta  triste  el  pensamieiito! 
Una  Fos.    (Dcntro.)     (Canta  desde  lejos  y  viene  acercundose.) 

Que  de  nochc  Je  mataron 

al  cdballero, 

la  gala  de  Medina, 

la  flor  de  Olmedo. 
Don  Alonso.  jCielos!     ^Que  estoy  escuchaudo? 

Si  es  que  avisos  vuestros  son, 

ya  que  estoy  en  la  ocasion, 

ide  que  me  estais  informando? 

Volver  atras  ^como  puedo? 

Invencion  de  Fabia  es, 

que  quiere,  a  ruego  de  Ines, 

hacer  que  no  vaya  a  Olmedo. 
La  Voz.    (Dentro.)       Sombras  le  avisaron 

que  no  saliese, 

y  le  aconsejaron 
que  no  se  fuese 

el  caballero, 

la  gala  de  Medina, 

la  flor  de  Olmedo. 


Don  Alonso.  iQue  de  sombras  finge  el  miedo! 

jQue  de  enganos  imagina! 
Oye,  escueha.    |D6nde  fue, 
que  apenas  sus  pasos  siento? 
(Ah,  labrador!     Oye,  aguarda. 
Aguarda,  responde  el  eco. 
jMuerto  yo!     Pero  es  cancion 
que  por  algun  hombre  hicieron 
de  Olmedo,  y  los  de  Medina 
en  este  camino  han  muerto. 
A  la  mitad  del  estoy: 
I  que  han  de  deeir  si  me  vuelvo? 


DEAMATIC  AST  OF  LOPE  DE  VEGA  83 

Gente  viene.  .  .  .  No  me  pesa. 
Si  alia  vau,  ire  cou  ellos. 

{Don  Eodrigo,  Don  Fernando,  Mendo,  Criudos.) 
Don  Eodrigo.  tQuien  va? 

Don  Alonso.  Un  bombre.     ^No  me  ven? 

Don  Fernando.  Detengase. 

Don  Alonso.  Caballeros, 

si  aeaso  ueeesidad 
los  fuerza  a  pasos  como  estos, 
(lesde  aqui  a  mi  casa  hay  poco: 
no  habre  menester  dineros; 
que  de  dia  y  en  la  calle 
se  los  doy  a  euautos  veo 
que  me  hacen  honra  en  pedirlos. 
Don  Eodrigo.  Quitese  las  armas  luego. 

Yo  vengo  a  matar,  no  vengo 
a  desafios;  que  entonees 
te  matara  c-uerpo  a  cuerpo. 
(a  Mendo.) 
Tirale. 

(Dispara  Mendo.) 
Don  Alonso.  Traidores  sois; 

pero  sin  armas  de  fuego 
no  pudierades  matarme. 
jJesiis!     (Cae.) 

Bien  lo  has  hecho,  Mendo. 
{Vanse  don  Eodrigo,  don  Fernando  y  su  gente.) 
Don  Alonso.  iQue  poco  credito  di 

a  los  avisos  del  cielo! 
Valor  propio  me  ha  engaiiado, 
y  muerto  envidias  y  celos. 
jAy  de  mi!     ^Que  hare  en  un  campo 
tan  solo? 
{Tello  entra.) 
Tello.  Pena  me  dieron 

estos  hombres  que  a  eaballo 
van  haeia  Medina  huyendo. 
Si  a  don  Alonso  habian  visto, 
pregunte;  no  respondieron. 
Mala  senal.     Voy  temblando. 
Don  Alonso.  jDios  mio,  piedad,  yo  muero! 

Vos  sabeis  que  fue  mi  amor 
dirigido  a  casamiento. 
;Ay,  Tnes! 
Xello.  ^^  lastimosas 

quejas  siento  tristes  ecos. 
Hacia  aquella  parte  suenan. 


Don  Fernando. 


nL'.nf.lTIC  AUT  OF  LOPK  VE   VEGA 


Bon  Alonso. 
Tello. 


Don  Alonso. 
TeUo. 


Don  Alonso. 


Tello. 


No  esta  del  caniino  lejos 
quien  las  da.    No  me  ha  quedado 
sangre.    Pienso  que  el  sombrero 
puede  tenerse  en  el  aire 
solo  en  cualquiera  cabello. 
jAh,  hidalgo! 

I  Quien  es? 


Ay,  Die 


[Por  que  dudo  lo  que  veo? 
Es  mi  senor.     jDon  Alonso! 
Seas  bien  venido,  Tello. 
jComo,  Senor,  si  he  tardado  ? 
^Como,  si  a  mirarte  llego 
hecho  un  pielago  de  sangre? 
Traidores,  villanos,  perros, 
volved,  volved  a  matarnie, 
pues  habeis,  infames,  muerto 
el  mas  noble,  el  mas  valiente, 
el  mas  galan  caballero 
que  cifio  espada  en  Castilla. 
Tello,  Tello,  ya  no  es  tiempo 
mas  que  de  tratar  del  alma. 
Ponme  en  tu  eaballo  presto, 
y  llevame  a  ver  mis  padres. 
jQue  buenas  nuevas  les  llevo 
de  las  fiestas  de  Medina! 
^„Que  dira  aquel  noble  viejo? 
^Que  hara  tu  madre  y  tu  patriae 
jVenganza,  piadosos  cielos! 
(Llevase  a  don  Alonso.) 


Fueiite  Ovejiina  presents  the  vigor  of  au  untutored,  demo- 
cratic community  standing  out  for  its  rights  against  the  vicious 
overlord,  and  we  have  side  by  side  with  rustic  dialogue  deeply 
impressive  tragic  passages  of  which  the  following  may  serve"  as 
an  example.  The  peasants  sitting  in  council  against  the  scoundrel 
who  has  ruined  their  lives  are  moved  to  action  by  a  woman's 
appeal : 


Eegidor.        Ya,  todo  el  arbol  de  paciencia  roto, 
eorre  la  nave  de  temor  perdida. 
La  hija  quitan  con  tan  gran  fiereza 
a  un  hombre  honrado,  de  quien  es  regida 
la  patria  en  que  vivis,  y  en  la  cabeza 


DBAMATIC  AFT  OF  LOPE  BE  VEGA 


85 


la  vara  quiebran  tan  injustaniente. 

^Que  esclavo  se  trato  con  mas  bajeza? 
Juan  Mojo.    |Que  es  lo  que  quieres  tu  que  el  pueblo  intente? 
Eegidor.         Morir,  o  dar  la  muerte  a  los  tiranos, 

pues  somos  muchos,  y  ellos  poca  gente. 
Barrildo.        j  Contra  el  senor  las  armas  en  las  manos! 
Estehan.        El  Eey  solo  es  senor  despues  del  cielo, 

y  no  barbaros  honibres  inhumanos. 

Si  Dios  ayuda  nuestro  justo  celo, 

^que  nos  ha  de  costar? 
Mengo.  Mirad,  senores, 

que  vais  en  estas  cosas  con  recelo. 

Puesto  que  por  los  simples  labradores 

estoy  aqui,  que  mas  injurias  pasan, 

mas  cuerdo  represento  sus  temores. 
Juan  Bojo.    Si  nuestras  desventuras  se  compasan, 

para  perder  las  vidas,  ^que  aguardamos? 

Las  casas  y  las  vinas  nos  abrasan: 

tiranos  son;  a  la  venganza  vamos. 

(Laurencia,  desmelenada.     Dichos.) 
Laurencia.     Dejadme  entrar,  que  bien  puedo, 

en  consejo  de  los  hombres; 

que  bien  puede  una  mujer, 

si  no  a  dar  voto,  a  dar  voces. 

^Conoceisme? 
Esteban.  i Santo  cielo! 

^No  es  mi  hija? 
Juan  Eojo.  I  No  conoces  - 

a  Laurencia? 
Laurencia.  Vengo  tal, 

que  mi  diferencia  os  pone 

en  contingencia  quien  soy. 
Esteban.         jHija  mia! 
Laurencia.  No  me  nombres 

tu  hija. 
Esteban.  ^Por  que,  mis  ojos? 

^Por  que? 
Laurencia.  Por  muchas  razones, 

y  sean  las  prineipales, 
porque  dejas  que  me  roben 
tiranos  sin  que  me  vengues, 
traidores  sin  que  me  cobres. 


|Vosotros  sois  hombres  nobles? 
iVosotros  padres  y  deudos? 
^Vosotros,  que  no  se  os  rompen 
las  entranas  de  dolor, 


86  DHAMAIIC   AUT  OF   I.Ol'K   DK   VEGA 

tie  verme  eu  tantos  dolores? 
Ovejas  sois,  bien  lo  dice 
lie  Fueute  Ovejuna  el  noinbre. 
Dadme  mias  armas  a  mi, 

l)ues  sois  piedras,  pues  sois  l)roiifOs. 
********** 

Los  Comcndadorcs  de  Cordoba  reprosents,  as  far  as  I  know, 
the  extreme  to  which  Lope  has  gone  in  giving  the  whole  plaj' 
an  atmosphere  of  gloom,  without  attaining  the  tragic  depth  and 
dignity  either  of  the  foregoing  play  or  of  that  masterwork,  la 
Estt'dla  dc  Scvilla.  No  tone  in  this  mars  the  exquisite  presenta- 
tion of  the  character  of  the  heroine,  and  when  we  see  her  over- 
whelmed by  a  course  of  tragic  events  which  take  place  inevitably 
one  after  the  other,  we  feel  justified  in  claiming  that  no  finer 
example  of  a  fearful  peripeteia  exists  on  any  stage.  Estrella 
is  in  the  midst  of  her  wedding  preparations,  when  without  warn- 
ing the  fateful  hour  is  upon  her : 

{Sala  en  casa  de  Busto.    Estrelhi  ji  Todora.) 
Estrella.        No  se  si  me  vesti  bien, 

como  me  vesti  de  prisa. 
'       ""ii'^  Dame,  Teodora,  ese  espejo. 
Teodora.        Verte,  Senora,  en  ti  misma 

puedes,  porque  no  hay  crista! 

que  tantas  verdades  diga, 

ni  de  hermosura  tan  grande 

haga  verdadera  cifra. 
Estrella.         Alterado  tengo  el  lostro  ' 

y  la  color  encendida. 
Teodora.        Es,  Senora,  que  la  sangre 

se  ha  asomado  a  las  mejillas 

entre  temor  y  vergiienza, 

solo  a  celebrar  tus  dichas. 
Estrella.        Ya  me  parece  que  Hega, 

el  rostro  banado  de  risa, 

mi  esposo  a  darme  la  mauo 

entre  mil  tiernas  caricias.  ' 

Ya  me  parece  que  dice, 

mil  ternezas  y  que  oidas 

sale  el  alma  por  los  ojos, 

disimulando  las  niiias. 

jAy  venturoso  dia! 

Esta  ha  sido,  Teodora,  estrella  mia. 


DRAMATIC  AET  OF  LOPE  BE  VEGA 


87 


Teodora. 


EstreUa. 
Teodora. 
EstreUa. 


Clarlndo. 


EstreUa. 


Clarindo. 


EstreUa. 


Teodora. 
Clarindo. 


EstreUa. 


EstreUa. 
Don  Pedro. 


Parece  que  geute  sueua. 

Cayo  el  espejo.     De  euvidia  (dJzale), 

el  cristal,  dentro  la  hoja, 

(le  una  luna  hizo  infinitas. 

iQuebrose? 

Seiiora,  si. 
Bien  hizo,  porque  iniagina 
que  aguardo  el  cristal,  Teoilora, 
en  que  mis  ojos  se  miran. 
Y  pues  tal  espejo  aguardo, 
quiebrese  el  espejo,  amiga; 
que  no  quiero  que  con  el, 
este  de  espejo  me  sirva. 
{Clarindo,  inuy  galdn. — Diclias.) 
Ya  aquesto  suena,  Seiiora, 
a  gusto  y  volateria; 
que  las  plunias  del  sombrero 
los  casamientos  publican. 
A  mi  dueno  di  el  papel, 
y  diome  aquesta  sortija 
en  albricias. 

Pues  yo  quiero 
feriarte  aquestas  albricias. 
Damela  y  toma  por  ella 
este  diamante. 

Partida 
esta  por  medio  la  piedra: 
sera  de  melancolia; 
que  los  jacintos  padecen 
de  ese  mal  aunque  le  quitan. 
Partida  por  medio  esta. 
No  importa  que  este  partida; 
que  es  bien  que  las  piedras  sientan 
mis  contentos  y  alegrias. 
jAy,  venturoso  dia! 
Esta,  amigos,  ha  sido  estrella  mia! 
Gran  tropel  suena  en  los  patios. 
Y  ya  la  esealera  arriba 
parece  que  sube  gente. 
I  Que  valor  hay  que  resista 
al  placer? 
{Los  dos  Alcaldes  mayores,  con  gciite  que  trac  el  cadaver 

de  Busto. — Dichos. ) 
Pero  .  .  .  jque  es  esto? 
Los  desastres  y  desdichas 
se  hicieron  para  los  hombres; 
que  es  mar  de  llanto  esta  vida. 


88 


DJi'AMATIC  AliT  OF  LOPE  DE   VEGA 


EsirdUi. 
Don  Feiho. 


EstreUa. 


Bon  Pedro. 

EstreUa. 


Don  Pedro. 
Far  fan. 
Don  Pedro. 
Clarindo. 
E.'itreUa. 


El  Senor  Busto  Tabera 
es  muerto. 

jSuerte  enemiga! 
El  consuelo  que  aqui  os  queda 
es  que  esta  el  fiero  honiicida, 
SaiK'ho  Ortiz  de  las  Roelas, 
preso,  y  del  se  hara  justicia 
•nianana  sin  falta.  .  .  . 
Dejadme,  gente  enemiga; 
que  en  vuestras  lenguas  traeis 
de  los  infiernos  las  iras. 
jlNIi  hermano  es  muerto,  y  le  ha  muerto 
Sanc-ho  Ortiz!     ^  Hay  quien  lo  diga? 
^Hay  quien  lo  escuehe  y  no  muera  ? 
Piedra  soy,  pues  estoy  viva. 
jAy  riguroso  dia! 
Esta,  amigos,  ha  sido  estrella  mia. 
Pero  si  hay  piedad  humana, 
matadme. 

El  dolor  la  priva, 
y  con  razon. 

i  Desdichada 
ha  sido  la  estrella  mia! 
j  Mi  hermano  es  muerto,  y  le  ha  muerto 
Sancho  Ortiz!      jEl  quien  divida 
tres  almas  de  un  corazon!   .  .  . 
Dejadme  que  estoy  perdida. 
Ella  esta  desesperada. 
jlnfeliz  beldad! 

Seguidla. 
Seiiora  .  .  . 

Dejame,  ingrato, 
sangre  de  aquel  fratricida. 
Y  pues  acabo  con  todo, 
quiero  acabar  con  la  vida. 
jAy  riguroso  dia! 
Esta  ha  sido,  Teodora,  estrella  mia. 


Satisfactory  selections  from  his  comedies  are,  as  I  have  stated, 
extremely  difficult  to  make,  but  a  survey  of  their  variety  may  be 
attempted.  At  the  opening  of  el  Au.'>cnte  en  el  Lugar  we  have  a 
delightful  scene  which  repeats  the  characteristic  gossip  of  ser- 
vants who  meet  on  the  street ;  in  los  MeUndres  de  Belisa  we  have 
the  whimsicality  and  capricious  action  of  a  young  daughter  who 
finds  nothing  to  her  liking,  who  ridicules  her  suitors,  finds  fault 


DEAMATIC  AET  OF  LOPE  DE  VEGA  89 

with  all  her  surroundings  and  makes  life  unbearable  for  those 
nearest  to  her.  La  Noche  de  ISan  Juan  is  an  example  of  Lope's 
ability  to  paint  laughter,  gaiety  and  confusion,  in  which  the 
spectator  follows  a  whirl  of  amusing,  loosely  connected  scenes. 
For  wit  and  clever  jeu  de  mots  combined  with  admirably  comic 
episodes  la  Viuda  valenciana  and  el  Molina  are  noteworthy  ex- 
amples. Plays  so  uniformly  good  in  their  exposition  must  have 
held  the  attention  of  the  public  from  the  very  outset,  and  Lope 
no  doubt  consciously  put  some  of  his  most  graceful  verse,  his 
finest  wit  and  humor  into  the  opening  scenes.  As  it  was  also  his 
purpose  to  capture  the  good  will  and  enduring  patronage  of  the 
multitude,  a  large  number  of  the  expositions  are  filled  with  amus- 
ing dialogues  designed  to  appeal  to  the  people.  In  Quien  arna 
no  haga  fieros  we  have  the  following  conversation  between  master 
and  servant : 

Gaston.  ... 

I  Has  alguna  vez  tenido 

(lama  cou  ciinado? 
Don  Felix.  No. 

Gaston.  jDichoso  tu!  porque  yo 

desdichadisimo  he  sido 

eu  materia  de  cuiiados. 
Don  Felix.    Amor  es  siempre  importuiio, 

y  querria  que  ninguno 

se  metiese  eu  sus  euidados. 

Todo  estorba  a  los  que  quiereu: 

padres,  hermanos,  sobriuos, 

hasta  vecinos. 
Gaston.  ^,  Vecinos? 

Esos  son  los  que  refieren 

toda  una  historia  de  amor; 

que,  no  atendiendo  a  su  casa, 

ven  lo  que  en  las  otras  pasa. 
Don  Felix.    Eso  es  general  error. 
Gaston.  No  se  aeostara  un  vecino 

hasta  ver  al  otro  entrar, 

si  alii  se  pensase  helar. 
Dot  Felix.    De  eualquier  desgraeia  es  dino. 
Gaston.  Yo  eonozco  una  riiujer, 

adonde  un  galan  hablaba, 

que  toda  la  noche  estaba 

a  una  ventana,  por  ver 


90  dhamatic  akt  of  i.ope  de  vega 

\  jior  osrmhar  los  toques; 

y  obligi'ile  (lescoiiijtuesta, 

a  traer  una  ballesta 

y   disparalle  bodoques. 

Mas  ella,  con  la  flaqueza 

lie  escuehar,  o  la  porfia, 

caila  noche  se  ponia 

uii  laldero  en  la  cabeza, 

con  que  el  galan  que  le  tiraba 

hacia  tanto  riiido, 

que  despertaba  al  niarido, 

y  a  la  senora  llamaba. 
Bon  Felix.    Yo,  por  ver  caza  tan  nueva, 

con  arcabuz  la  tirara. 
Gaston.  ^Que  importa?     Tambien  buscara 

algi'ni   morrion   a   pruelia. 

Pcrihanez  y  cl  Comcndador  de  Ocana  offers  an  example  of  Lope's 
rare  gift  of  putting  into  facile  verse  a  domestic  dialogue  in  which 
husband  and  wife  demonstrate  their  mutual  obligations  and 
necessary  qualifications  by  means  of  the  alphabet : 

Casilda.         ^Que  ha  de  tener  para  buena 

una  niujer  ? 
Perihdnez.  0\e. 

Casilda.  Di. 

Perihdnez.     Aniar  y  lionrar  su  marido 

es  letra  deste  abece, 

siendo  buena  por  la  B, 

que  es  todo  el  bien  que  te  pido. 

Harate  cuerda  la  C, 

la  D  dulce,  y  entendida 

la  E,  y  la  F  en  la  vida 

firme,  fuerte  y  de  gran  fe.  ^ 

La  G  grave,  y,  para  honrada, 

la  H,  que  eon  la  I 

te  hara  ilustre,  si  de  ti 

queda  mi  easa  ilustrada. 

Limpia  seras  por  la  L, 

y  Jior  la  M,  niaestra 

de  tus  hijos,  eual  lo  muestra 

quien  de  sus  vicios  se  duele. 

La  N  te  ensena  un  no 

a  solicitudes  locas: 

que  este  no,  que  aprenden  pocas, 

esta  en  la  N  v  la  O. 


DBAMATIC  AST  OF  LOPE  BE  VEGA  91 

La  P  te  hara  pensativa, 

la  Q  bien  quista,  la  E 

con  tal  razon,  que  destierre 

toda  locura  excesiva. 

Solieita  te  ha  de  hacer 

de  mi  regalo  la  S, 

la  T  tal  que  no  pudiese 

hallarse   mejor  mujer. 

La  V  te  hara  verdadera, 

la  X  buena  cristiana, 

letra  que  en  la  vida  humana 

has  de  aprender  la  primera. 

Por  la  Z  has  de  guardarte 

de  ser  zelosa;  que  es  eosa 

que  nuestra  paz  amorosa 

puede,  Casilda,  quitarte. 

Aprende  este  canto  llano; 

que  con  aquesta  cartilla, 

tu  seras  flor  de  la  villa, 

y  yo  el  mas  noble  villauo. 
Casilda.  Estudiare,  por  servirte, 

las  letras  de  ese  abece; 

pero  dime  si  podre 

otro,  mi  Pedro,  decirte, 

si  no  es  acaso  licencia. 
Perihdtiez.     Antes  yo  me  huelgo.     Di; 

que  quiero  aprender  de  ti. 
Casilda.         Pues  escucha  y  ten  paeiencia. 

La  primera  letra  es  A, 

que  altanero  no  has  de  ser; 

por  la  B  no  me  has  de  hacer 

burla  para  siempre  ya. 

La  C  te  hara  eompanero 

en  mis  trabajos;  la  D 

dadivoso  por  la  fee 

con  que  regalarte  espero. 

La  F  de  facil  trato, 

la  G  galan  para  mi, 

la  H  honesto  y  la  I 

sin  pensamiento  de  ingrato. 

Por  la  L  liberal 

y  por  la  M  el  mejor 

marido  que  tuvo  amor, 

porque  es  el  mayor  caudal. 

Por  la  N  no  seras 

necio,  que  es  fuerte  castigo; 

por  la  O  solo  conmigo 


92  DRAMATIC   ANT  OF   I.OPK  DK   I  Ed  A 

todas  las  horas  teiidras. 

Por  la  P  me  has  de  hacer  obras 

(Ic  padre ;   porque  (|uererme 

por  la  Q,  sera  poneniie 

en  la  obligation  que  cobras. 

Por  la  E  regalarme 

y  por  la  S  servirnie, 

por  la  T  tenerte  firme, 

por  la  V  verdad  tratarnie; 

por  la  X  con  abiertos 

brazos  imitarla  asi  (Abrdzalc), 

y  como  estanios  aqui, 

estemos  despues  de  muertos. 

TIh'  pleasing  description  of  Peribafiez's  home-coming  has  already 
been  quoted  above.  A  comic  reversal  of  fortune  may  be  found 
in  la  Esclava  de  su  galdn,  in  which  we  have  a  delightful  picture 
of  the  sudden  collapse  of  the  son's  position  in  his  father's  good 
graces.  Don  Juan  arouses  the  latter 's  rage  by  confessing  that 
he  is  engaged  to  be  married  to  a  poor  but  virtuous  girl ;  the 
father  slams  the  door  in  the  son's  face  and  orders  that  his  cloth- 
ing and  books  be  thrown  out  of  the  window.  Don  Juan  and  his 
servant  are  left  in  the  street  stunned  and  disconcerted. 

Pedro.  iQue  cerca  estas  de  llorar! 

Bon  Juan.     Pues  j  de  eso,  Pedro,  te  espantas? 

Ayer  un  coche  y  criados, 

casa,  hacienda,  padre  y  galas, 

y  hoy  icerradas  estas  puertas! 

Then  follows  the  comic  anguish  of  the  two,  as  the  son's  posses- 
sions come  flying  through  the  window. 


Pedro. 

Ya  arrojan  por  las  ventauas 

tus  vestidos. 

Don  Juan. 

i  Bravo  enojo! 

Pedro. 

Anda  la  mar  alterada, 

y  alijeran  el  navio. 

Voy  a  buscar  mi  sotana. 

Don  Juan. 

jAy  Dies!     jsi  se  han  de  perder 

de  dona  Elena  las  cartas 

y  una  cinta  de  cabellos! 

Pedro. 

iQue  joyas! 

Don  Juan. 

Joyas  del  alma. 

DEAMATIC  AFT  OF  LOPE  BE  VEGA 


93 


Pedro.  Cierto  que  hay  almas  buhoneras, 

pues  andan  siempre  cargadas 

de  cintas  y  de  i^apeles. 
Boh  Juan.     jAy,  mi  Elena! 
Pedro.  jAy,  mi  sotana! 

Bon  Juan.     jAy,  papeles! 
Pedro.  jAy,  gregiieseos! 

Bon  Juan.     jAy,  mis  piutas! 
Pedro.  jAy,  mi  camal 

Bo)i  Juan.     Quien  supiere  que  es  amor, 

apruebe  mis  esperanzas; 

quien  no,  diga  que  estoy  loco, 

pues  quedo  con  sola  el  alma. 

Indelicacy  is,  as  I  have  asserted  above,  exceedingly  rare  in  Lope, 
and  such  a  conversation  as  that  carried  on  between  the  Countess 
and  the  escudero  Durango  in  las  Flores  de  don  Juan  (act  II, 
scene  xviii),  during  which  he  narrates  a  coarse  anecdote,  would 
have  to  be  curtailed  on  the  stage  of  today.  It  may  be  explained, 
however,  in  view  of  the  fact  that  throughout  Europe  society  of 
the  Renascence  indulged  in  topics  of  conversation  not  counte- 
nanced today  because  we  have  become  more  reserved  and  also 
less  naive  and  less  natural.  On  the  other  hand,  broad  luimor 
and  farcical  play  intended  for  the  masses  are  fairly  common  in 
the  comedies  and  even  in  the  tragedies.  La  Nochc  tohdana 
offers  an  excellent  specimen.  Florencio  and  his  servant  are 
attempting  to  escape  from  an  inn  over  a  neighboring  housetop, 
in  order  to  get  away  from  the  police  whom  they  imagine  in 
pursuit ;  the  scene  must  have  delighted  the  populace. 


(Vista  de  Tejados:  Florencio  y  Belt  ran.) 
Florencio.  ^  Haste  hecho  mal? 

Beltrdn.  No  tengo  hueso  sano. 

Florencio.  |Ad6nde  estanios? 

Beltrdn.  ^Puedo  yo  sabello? 

I  Hay  mapas  de  tejados  eu  el  mundo  ? 

I  Hay  carta  que  sefiale  rumbo  o  liuea 

de  chimeneas  ni  de  eaballetes? 

^Hay  Tolomeo  ni  otro  algiin  cosmografo 

que  trate  de  azoteas? 
Florencio.  Esta  casa 

me  parece  meson. 


Di:.\M.\TIC  AKT  OF   J.OVE   DK    VFXiA 


Bdtrdii.  Y  eslo  sin  duila; 

lioitjue  lo  son  las  desta  acera  todas 
desde  la  Concei)c'i6n  al  Carmen. 

Flonncio.  Creo 

que  es  palomar  aqueste  o  gallinero. 

BcJtidn.  Yo  pienso  que  en  algun  tejado  destos 

hay  alguna  colniena. 

Flnrencio.  Y  no  dc  abejas, 

sine  de  aleves  zanganos  o  avispas, 
que  la  cara,  las  piernas  y  las  nianos 
me  tienen  hechas  criba. 

Bcltrdn.  En  las  nariees 

me  lia  dailo  un  avispon  un  picotazo, 
que  me  ha  hecho  elefante,  vive  el  cielo. 

Florencio.  |Si  estaremos  mejor  con  las  gallinas? 

Beltrdn.  Dalas  al  diablo;  porque  entraba  apenas, 

cuando  cerro  conmigo  el  senor  gallo, 
creyendo  que  robarle  quise  alguna, 
y  me  ha  sacado  un  ojo  con  el  pico. 

Florencio.  ^Estoy  muy  sucio? 

Beltrdn.  Estas  como  un  estiereol. 

Florencio.  I  Que  es  aquello  primero  donde  eUtramos? 

Beltrdn.  Una  pocilga,  donde  he  sacado 

tal  cantidad  de  pulgas  que  estoy  muerto. 

Florencio.  Escapar  de  aquel  perro  fue  milagro. 

Beltrdn.  Y''©,  a  lo  menos,  no  fui  tan  venturoso. 

Florencio.  |  Mordiote  ? 

Beltrdn.  Traigo  menos  libra  y  media 

de  carue  desta  izquierda  pantorrilla. 

Florencio.  Morderte  perro  es  seda  sobre  seda. 

Beltrdn.  No  quiso  respetar  al  parentesco; 

que  perro  soy,  aunque  parezeo  hidalgo. 

Florencio.  ;  Cruel  noche  por  Dios! 

Beltrdn.  Si  yo  creyera 

al  buen  humor  que  tengo  escarmentara 
de  enamorarme.  *" 

Florencio.  Amor  ;  que  culpa  tiene? 

Beltrdn.  Amores  en  Toledo  son  muy  buenos, 

si  son  de  dia,  pero  no  de  noche; 
que  hay  cuestas  espantosas  y  ladrillos, 
hombres  del  diablo,  avispas,  perros,  pulgas, 
tejados,  gallineros  y  alguaciles. 

Voces.    (Dentro.)       Ladrones  son!      jLailrones! 

Beltrdn.  Esto  es  bueno. 

Florencio.  jOh,  pesia  tal!  la  casa  se  alborota. 

Una  Voz.    (Dentro.)  Dame  aquese  arcabuz,  suelta  ese  perro. 


BEAM  AT  IC  ABT  OF  LOPE  BE  VEGA  95 

BcUrdn.  Por  mi  lo  dice;  ya  me  sabe  el  nombre; 

conocido  nos  han. 

FJorencio.  Por  aqui  aba  jo, 

en  la  caballeriza  nos  entremos, 
y  en  saliendo  algi'm  huesped  nos  iiemos.  {J'aiisc) 

In  my  opinion,  one  of  the  comic  masterpieces  worthy  to  rank 
with  the  best  of  any  stage  may  be  found  in  la  Dorotea  (act  II, 
scene  vi).  It  is  a  drinking  scene  in  which  Gerarda,  an  okl 
woman  of  the  Celestina  type  and  one  of  Lope's  great  creations, 
is  seated  at  table  with  Teodora  and  the  latter 's  daughter  Dorotea. 
Here  her  relative  indifference  to  food  is  more  than  counter- 
balanced by  her  fondness  for  the  cup,  and  we  are  told  that  her 
favorite  philosopher  is  not  Plutarch,  but  the  more  famous  wine, 
Alaejos.  Since  it  is  futile  to  analyze  all  the  features  of  this 
scene,  I  have  preferred  to  let  the  following  extract  speak  for 
me.  The  reader  will  note  the  spontaneous  humor,  the  richness 
in  popular  phrases,  the  many  details  of  a  domestic  scene  intime, 
the  light  which  some  of  the  customs  depicted  throw  on  contem- 
porary manners,  and,  above  all,  the  art  of  the  great  dramatist 
who  has  laid  bare  the  soul  of  the  old  woman  Gerarda,  by  leading 
lier  in  the  most  subtle  manner  out  of  her  first  condition  of  witty 
sobriety,  tlirough  all  the  subsequent  stages  of  garrulous  self- 
confession,  of  heavy-tongued  but  amusing  nonsense  to  the  inevit- 
able stupor  of  intoxication.  This  scene,  as  well  as  others  in  Avhich 
Gerarda  appears,  is  not  only  the  best  portion  of  la  Dorotea,  but 
shows  Lope  as  a  master  of  psychological  analysis  worthy  of  liis 
famous  prototype,  the  coniedia  de  Calisto  \j  Melibea,  the  fountain 
of  his  inspiration. 

Teodora.        No  tauta  fruta,  Dorotea,  que  estas  nuiy  convaleeiente.     Deja 

las  uvas. 
Borotea.        ^,  Que  me  han  de  liacer?     Que  ya  estoy  buena. 
Teodora.        Tonia  estos  higos,  Gerarda. 
Gerarda.        Por  ti   tomare  uno,   que  no   lo   hieiera   ]ior   el   padre   que   me 

engendro;  pero  es  menester  que  sepas  que  con  un  higo  se 

bebe  tres  veces. 
Teodora.  |  Quien  lo  escribe? 
Gerarda.        El  filosofo  Alaejos:  ^pensaste  que  era  Plutarco?     Alirole  por 

medio.  .  .  .  Dame,  Celia,  la  primera. 


DL'.iM.rnc  Airr  of  Lone  />/■;  ikga 


Tcodora. 

Gcrarda. 

Teodora. 

Gerarda. 

Cclia. 

Gerarda. 

Teodora. 
Gerarda. 


I  Sin  conierle  bebes  ? 

Agora  le  echo  un  poco  ilo  sal.     Daiiio  la  scguiKJa. 

Ya  tienes  las  ilos  apaite;  4 que  haras  agora? 

Cerrar  el  higo.     Dame  la  tercera. 

Bebe  y  bueu  proveoho;  pero  mira  que  es  fuerte. 

Mas  fuerte  era  Sanson,  y  le  veneio  el  amor.     jBien  haya  quien 

te  erio! 
^El  higo  eehas  por  la  ventana,  despues  de  tantas  ])revenciones? 
Pues  {el  habia  de  entrar  aca  ?     No  se  vera  en  ese  gozo. 


Teodora. 
Gerarda. 
CeJia  (A p.) 

Gerarda. 


Teodora. 

Gerarda. 

Celia. 

Gerarda. 

Teodora. 

Gerarda. 

Celia. 
Gerarda. 


Teodora. 
Dorotea. 
Teodora. 

Dorotea. 
Teodora. 
Celia. 


Tu  me  agradas,  Gerarda,  que  hablas  y  comes. 

Ese  nino  me  alaba,  que  come  y  mama. 

Otro  refrancito.  jQue  eolorada  esta  la  madre!  Parece  nia- 
droiio  y  la  nariz  zanahoria. 

Cuando  yo  me  acuerdo  de  mi  Nuflo  Eodriguez  a  la  mesa.  .  .  . 
iQue  decia  el  de  cosas!  [Que  gracias!  [Que  cuentos!  Del 
aprendl  las  oraciones  que  se.  Era  un  bendito,  no  hizo  en 
su  vida  mal  a  un  gato;  que  cuando  le  saearon  a  la  ver- 
giienza  fue  por  ser  tan  hombre  de  bien,  que  nunca  quiso 
decir  quien  habia  tornado  los  platos  del  canonigo.  Ahora 
parece  que  lo  veo  por  esa  calle  Mayor;  jque  cara  llevaba 
en  aquel  pollino!  No  dijeran  sino  que  iba  a  casarse.  Y 
como  el  tenia  tan  linda  barba,  agraciabale  mucho  el  desen- 
fado  con  que  picaba  aquella  bestia  lerda.  Ya  le  decia  yo 
que  no  saliera  sin  acicates. 

Gerarda,  no  bebas  mas;  que  dices  desatinos,  y  en  otr? 


parte 
que  lloras? 


pensaran  que  era  verdad  lo  que  dices.     |  Pai 
Porque  fue  crueldad  llevarle  a  galeras. 
Ya  lo  enmienda. 

Dios  nianda  que  se  digan  las  verdades. 
No  en'dafio  del  projimo. 
|,Que  dano  es  contar  sus  alabanzas,  Teodora,  ni   refrescar  la 

memoria  del  bien  que  se  ha  perdido? 
A  lo  menos  refrescar  lo  bien  que  se  ha  bebido. 
La  primera  vez  que  me  hallo  en  aquella  niueria  del  estudiiite, 

fue  notable  su  paciencia.     Era  invierno,  y  echonos  a  mi  y 

a  el   un  jarro   de  agua   en  la   cama,   diciendo  con   aquella 

bondad    de    que    el    se   preciaba    mucho:    "A   los    bellacos 

mojallos. " 
I  No  adviertes,  Dorotea,  la  condicion  del  vino? 
Fiale  tus  secretes;  que  esa  es  la  primera  de  sus  faltas. 
jOh  infame  vieio,  tan  opuesto  a  la  honra  como  aborrecido  de 

la  templanza! 
Cuanto  vino  entra,  tantos  secretos  salen. 

Desde  que  le  pisaron,  por  huir  de  los  pies,  se  sube  a  la  cabeza. 
^Para  que  me  haces  senas,  tia? 


DFAMATIC  ABT  OF  LOPE  BE  VEGA 


97 


Gerarda. 


Celia. 
Gerarda. 


CeJia. 
Gerarda. 
Celia. 
Gerarda. 

Teodora. 
Gerarda. 


Celia. 
Gerarda. 


^Para  que  me  lo  preguntas,  net-ia?  ^Cuanto  va  que  me  levauto, 
pues  no  me  entiendes? 

Ha  caido  un  mosquito. 

No  hayais  miedo  que  se  descalabre;  no  le  saques,  Celia,  que 
son  los  espiritus  deste  lieor,  como  los  atomos  del  aire;  el 
vino  los  engendra  y  a  nadie  le  pareeieron  sus  hijos  feos. 
Y  cuando  dieres  vino  a  tu  seiior,  no  le  mires  al  sol. 

Que  quiera,  que  no  quiera,  el  asno  ha  de  ir  a  la  feria. 

Pesa  presto,  Maria,  cuarteron  por  media  libra. 

No  cabe  mas  la  taza,  que  no  es  saca  de  lana. 

La  leche  de  los  viejos  es  el  vino:  no  se  si  lo  dice  Cieeron  o  el 
obispo  de  Mondoneilo.     jAy  mi  buen  Nuflo  Rodriguez! 

A  la  tenia  vuelve. 

En  su  vida  reparo  en  mosquito,  todo  cuanto  venia  colaba,  que 
era  una  bendicion.  Llamaba  grosera  al  agua,  porque  criaba 
ranas;  una  de  las  cosas  con  que  me  vencio  para  que  no  la 
bebiese,  cuando  me  case  con  el,  fue  decirme  que  habian  de 
cantar  en  el  estomago;  y  pusome  tanto  miedo,  que  desde 
entonces,  sea  Dios  bendito,  no  la  he  probado.  Pues  ya, 
para  lo  que  me  queda,  con  su  ayuda  bien  sabre  salir  deste 
peligro. 

Mira  que  se  duerme,  tia. 

Vieneme  el  mal  que  me  suele  venir;  cjue  despues  de  harto  me 
suelo  dormir. 


Gerarda.  Cuando  dan  por  los  aladares,  canas  son,  que  no  lunares.  Dame 
sin  que  lo  vean. 

Celia.  Nueve  veces  has  bebido. 

Gerarda.        Escuderos  de  Hernan  Daza,  nueve  debajo  de  una  manta. 

Celia.  No  la  habras  menester  esta  noche. 

Gerarda.        No  tiene  mas  frio  nadie  que  la  ropa  que  trae. 

Teodora.  Mira,  Gerarda,  que  te  hara  mal,  y  que  Celia  y  la  negra  se 
estan  riendo,  y  con  ser  tu  amiga  Dorotica,  no  te  la  perdona. 

Gerarda.        Cuando  el  guardian  juega  a  los  naipes,  ^que  haran  los  frailes? 

Teodora.        Quitale  esas  aceitunas,  negra. 

Gerarda.  Bien  puede;  que  una  hora  habra  que  estoy  con  el  hueso  de  una, 
pidiendo  una  consolacion. 

Teodora.        Alza  esta  mesa,  y  dale,  nina,  un  poco  desa  grajea  a  Gerarda. 

Gerarda.  Grajea  a  Guinea:  reventado  sea  mi  cuerpo,  si  en  el  entrare. 
No  se  hallara  en  todo  mi  linaje  persona  que  haya  comido 
dulce;  en  mi  vida  fui  a  bautismo,  por  no  ver  el  mazapan 
y  los  almendrones,  cuando  voy  por  las  calles,  me  voy  arri- 
mando  a  las  tabernas  y  huyendo  de  las  confiterias,  y  en 
viendo  un  hombre  que  come  cascos  de  naranja,  le  miro  si 
tiene  los  ojos  azules.  ^Pues  pasas ?  maldito  sea  el  corazon 
que  las  paso  ni  al  sol  ni  a  la  lejia. 

Celia.  Ande  aca,  tia;  que  no  esta  para  firmar. 


98  i)i;.\M.\Ti('  .urr  of  Lori-:  dk  vkga 

Gcrarda.        Si  conio  tieiie  oiejas,  tuvieie  boea,  a  imulios  Uamara  la  picota. 

CcUa.  '    Con  bueiias  oraeiones  se  alza  la  mesa. 

Gcrarda.        No  quito   los   iiiaiiteles;   dare  gracias,  puos  ocIk'  la   hoiulirioii. 

Tcocloro.        Di;  veaiiios. 

Gcrarda.        Quod   liaboinus   tomiilo,   de  Doiiiiuus   Doiniui   sea   benedito,  y 

a    iiiicos    y    a    vobis    miiu-a    faltetur,    y    agora    dicamus   el 

saiitificetur. 
Dorotca.        No  se  le  puede  negar  que  tiene  gracia,  y  yo  conozco  imulios 

presumidos  de  ciencias  que  saben  meuos  latin. 
Gcrarda.        Despues  de  comer  sieiiipre  tengo  yo  mis  devociones. — Llevame 

al  oratorio,  Celia. 
Celia.  Tia,    mejor  es  la  cama.    No  te  cargues  tanto,  que  pesas  mucho. 

Gerarda.        La  puerta  pesada,  puesta  en  el  quicio  no  pesa  nada. 
Celia.  Topaste  con  la  silla.    Por  aca,  tia. 

Teodora.         iQue  golpe  que  se  ha  dado!     Llevala  con  tiento,  ignorante. 
Celia.  I  Que  tiento,  si  no  le  tiene?     (Vaiise.) 

I  must  add  a  brief  word  on  monologue  and  narrative.  The 
former  is  a  common  device  or  feature  of  Lope's  formula,  and  I 
had  occasion  to  speak  of  it  in  the  notes  appended  to  la  Dama 
hoha.  In  so  far  as  the  soliloquy  was  intended  solely  to  reveal  the 
inner  self  of  the  person  speaking  it  must  be  logically  character- 
ized by  directness,  sincerity  and  simplicity.  These  qualities,  how- 
ever, are  easily  marred  by  artificial  speech,  while  the  success  of 
the  play  whose  keynote  is  rapidity  of  action  may  be  jeopardized 
if  anything  hampers  its  forward  motion.  It  must  be  said  to 
Lope's  credit  that  he  recognized  the  soundness  of  this  principle 
far  more  than  did  any  of  his  successors,  and  that  his  monologues, 
while  not  always  free  from  the  artifice  of  conceptismo  and  culto, 
are  generally  well  timed  and  in  keeping  with  the  plot.  The 
conclusion  which  imposes  itself  upon  the  reader,  however,  is  that 
the  soliloquy  is  artistically  far  more  satisfactory  in  serious  scenes 
and  in  tragedy  than  in  comedy  for  the  reason  stated  in  my  notes 
to  la  Dama  hoha,  namely,  that  the  former  normally  contains  more 
moments  of  reflection  and  self-analysis.  Pure  comedy,  accord- 
ing to  Lope's  formula,  is  based,  as  I  tried  to  show,  on  impulse 
rather  than  deliberation. 

The  chief  poetic  forms  used  in  the  monologue  are  the  sonnet, 
the  glosa.  used  by  Lope  with  great  variety  and  flexibility,  the 
rcdondilla  and  quintilla,  the  octava  and  the  romance.     As  far 


DHAMATIC  ART  OF  LOPE  BE  VEGA  99 

as  I  am  aware,  practically  all  of  his  soliloquies  are  brief.  No 
monologue  of  the  length  of  those  found  in  Shakespeare,  Corneille, 
Schiller,  Victor  Hugo  and  others  has  come  to  my  notice  in  Lope. 
The  purpose  of  the  monologue  in  his  comedia,  when  it  has  no 
serious,  introspective  character,  is  one  of  the  following :  it  creates 
a  pause  between  the  exit  of  one  personage  and  the  entrance  of 
another  without  leaving  the  stage  empty ;  it  may  give  a  person 
whose  approach  is  imminent  time  to  arrive ;  it  may  permit  one  or 
more  persons  to  leave  the  stage  for  a  brief  time  to  accomplish  an 
act  or  deed  necessary  to  the  plot  (such  as  the  fetching  of  a  desired 
object,  the  bringing  in  of  another  person,  the  hindrance  of  soin,e- 
tliing  about  to  happen,  etc.)  ;  it  may  serve  especially,  and  in  this 
I  include  the  aparte  uttered  with  others  on  the  stage,  to  express 
all  the  emotions  of  surprise,  anguish,  joy,  and  the  like.  In  the 
latter  case  it  is  thoroughly  justifiable  as  an  artistic  device. 

The  narrative,  varying  in  length,  is  a  device  justified  only  by 
its  rhetorical  qualities  and  because  of  the  opportunities  it  gave 
certain  types  of  actors  and  actresses  to  show  their  declamatory 
talent.  But  it  can  hardly  be  defended  otherwise,  as  it  lacks  the 
dramatic  character  of  action,  and  is  open  to  many  abuses.  While 
it  reminds  one  of  the  messenger's  speech  in  Greek  tragedy,  there 
is  no  reason  for  believing  that  the  narrative  in  the  comedia  was 
in  any  sense  influenced  by  it.  As  regards  its  use  by  Lope,  it  is 
one  of  the  elements  of  his  formula  in  which  he  made  concessions 
more  and  more  to  a  growing  vogue.  Without  wishing  to  gener- 
alize too  much,  I  venture  to  state  that  lengthy  narratives  are 
more  common  in  his  latest  plays,  while  his  early  and  middle 
period  show  greater  artistic  restraint,  and  an  effort  to  keep  the 
narrative  within  proper  bounds.  We  cannot,  however,  take  our 
stand  upon  absolutely  solid  ground  in  this  conclusion,  because 
the  vast  majority  of  texts  which  have  come  down  to  us  are  based 
on  badly  mutilated  prompters'  copies.  Wherever  I  have  been 
able  to  make  any  comparison  with  an  original  it  was  noticeable 
that  the  narrative  portions  had  been  cut  an  1  modified.  Those 
examples  v,hich  we  possess  must  therefore  almost  always  be 
considered  shorter  than  the  poet's  own  version. 


100  DUAMATIC  ART  OF   I.OI'F.    ]>E   VEGA 

The  narrative  serves  various  purposes,  a-nong  them  that  of 
making  the  audience  acquainted  with  the  history  of  the  narrator, 
or  of  some  one  of  tlie  characters  of  the  play ;  it  is  a  device  to 
connect  past  events  with  the  present,  and  it  serves  in  general 
to  make  known  what  has  happened  behind  the  stage.  While 
the  narrative  was  naturally  intended  for  those  persons  not  yet 
acfiuainted  with  its  content,  there  are  cases  in  which  it  rehearses 
wliat  the  audience  already  knows.  This  constitutes  an  inartistic 
blunder,  in  so  far  as  it  is  a  hindrance  to  the  action  and  makes 
the  public  yawn.  Lope's  successors  retained  the  narrative,  but 
increased  the  defects  which  in  the  great  master  were. still  in- 
offensive. They  introduced  a  greater  number  of  narratives  in 
a  single  play  and  not  infrequently  made  a  single  one  several 
hundred  verses  in  length,  thereby  contributing  effectually  to 
tlie  artificial  elements  which  caused  the  final  decadence  of  the 
conudia  as  a  work  of  art. 


DRAMATIC  ART  OF  LOPE  DE  VEGA 


CHARACTERS  AND  CUSTOMS 

The  fabric  of  Lope's  formula,  so  intricately  woven  with  its 
mixed  elements  of  fancy  and  reality,  cannot  be  adequately  an- 
alyzed and  discussed  in  all  of  its  details  in  a  short  space:  of 
that  I  am  aware.  But  the  serious  student  may  be  able,  by  con- 
tinual labor  carried  on  in  a  sympathetic  spirit,  to  master  the 
seemingly  overwhelming  material  of  Lope's  creation.  His  work  - 
is  not  characterized  by  a  specific  manner  or  method.  The  great 
improvisor  was  a  tool  in  the  grasp  of  an  inventive,  a  creative  -^ 
impulse  over  which  the  conscious  reasoning  processes  had  little 
control.  His  dramatic  technique,  such  as  it  is,  leaves  the  im- 
pression of  having  been  acquired  by  a  hit-or-miss  process;  it 
was  constantly  modified,  we  may  presume,  not  in  the  midst  of 
a  creative  mood,  but  after  the  author  had  seen  his  work  as  a 
whole  upon  the  stage  and  viewed  it  objectively  for  the  first  time. 
It  must  have  been  in  those  moments  of  quiescent  reflection  that 
Lope  reached  out  beyond  the  limits  of  his  artistic  formula  to 
that  of  actual  human  life ;  to  those  moments  we  undoubtedly 
owe  that  continual  broadening  of  the  scope  of  his  art,  the  mas- 
terly delineation  of  various  living  types  of  men  and  women,  and 
the  abiding  results  embodied  in  vivid  pictures  of  contemporary 
customs.  This  particular  phase  of  his  creation  reveals  the  height 
to  which  his  dramatic  genius  could  attain. 

One  of  Lope's  most  enduring  inspirations  was  the  type  of  '^ 
man  or  woman  cast  in  a  heroic  mould.  His  conception  of  great 
and  virtuous  women  has  been  a  model  for  other  playwrights, 
and  the  history  of  the  stage  offers  no  loftier  scenes  than  those 
in  which  are  depicted  the  moral  courage,  the  fearless  self-sacrifice, 
the  purity  of  heart,  the  unswerving  devotion  of  such  women  as 
Estrella  {la  Estrella  de  Sevilla),  dona  Maria  {la  Moza  de  Cdn- 
taro),  dona  Sol  {la  Corona  merecida),  Dorotea  {la  Nina  de 
Plata),  Elena  {la  Llave  de  la  Jionra),  Elvira  {el  mejor  Alcalde 
el  Rey),  Casilda  {Pcnhdnez  y  el  Comendador  de  Ocana),  Lau- 


1111^  dhamatic  art  of  /.on-:  />/•;  iay/j 

rciic'iu  {FtKiiU  Ov(juiia),  and  others.  It  is  worthy  of  note  also 
that  the  list  contains  women  of  humble  as  well  as  exalted  station. 
A  satisfaetory  presentation  of  all  these  ehai-aeters,  who  deserve 
to  he  better  known  to  tlie  i-cader.  cannot  tx'  undertaken  here; 
theii-  rare  delineation  lias  already  been  pointed  out  by  occasional 
writers  whose  sincere  admiration  liad  been  aroused  by  Lope's 
l)lays  of  good  women.  It  will  suffice  to  add  that  the}'  rank  among 
his  greatest  creations,  that  tlie  unusual  spiritual  dignity  and 
nobility  of  these  heroines  may  be  felt  throughout  the  entire  plot, 
ennobling  all  those  who  come  into  contact  with  them. 

Among  his  prominent  types  of  men,  the  first  place  is  due  to 
those  sterling  old  characters  who  incarnate  the  solid  qualities 
of  rugged  peasant  simplicity,  honor,  and  loyalty  to  inherited 
standards  of  living,  who,  as  enemies  of  sham  and  innovation, 
embody  the  uncorrupted  ancient  Spanish  virtues.  There  is  no 
more  inspiring  reading  in  all  Spanish  literature  than  the  senti- 
ments of  these  high-minded  characters,  and  the  fact  that  they 
constantly  found  a  response  in  the  public  is  a  high  tribute  to 
the  people  of  the  Peninsula.  An  admirable  example  of  this  type 
is  Tello  el  viejo,  in  los  Tellos  de  Meneses,  a  rustic  of  the  moun- 
tains of  Leon,  whom  Lope  places  in  the  time  of  Ordoilo  I  with 
the  apparent  intention  of  making  the  contrast  between  the  man- 
ners and  morals  of  his  own  day  and  those  of  an  idealized  old 
Spain  very  clear  to  his  audience.  The  following  passage  gives 
in  a  nutshell  the  author's  conception  of  Tello,  his  native  dignity 
and  high  personal  character ;  it  is  also  an  example  of  Lope's  rare 
gift  of  presenting  the  choicest  spirit  of  Horace  modified  by  the 
qualities  of  Luis  de  Leon.  "^ 

Tello  el  viejo.     \  Cuau  bienaventurado 

puede  llamarse  el  hombre 

que  con  escuro  nombre 

vive  en  su  casa,  honrado 

de  su  familia,  atenta 

a  lo  que  mas  le  agrada  y  le  eontenta! 

Sus  deseos  no  buscan 

las  cortes  de  los  reyes, 

adonde  tantas  leyes 

la  ley  primera  ofuscan. 


DBAMATIC  ABT  OF  LOPE  DE  VEGA 

y  por  el  nuevo  traje 

la  simple  antigiiedad  padece  ultraje. 

No  obliga  poca  renta 

al  costoso  vestido, 

que  al  uso  conocido 

la  novedad  inveuta, 

y  con  pocos  desvelos 

conserva  la  igualdad  de  sus  abuelos. 

No  ve  la  loca  dania 

que  por  vestirse  de  oro, 

se  desnuda  el  decoro 

de  su  opinion  y  fama, 

y  hasta  que  el  arco  rompa, 

la  cuerda  estira  de  la  vana  pompa. 

Yo  salgo  con  la  aurora 

por  estos  verdes  prados, 

aun  antes  de  pisados 

del  bianco  pie  de  Flora, 

quebrando  algunos  liielos 

tal  vez  de  los  cuajados  arroyuelos. 

Miro  con  el  cuidado 

que  salen  mis  pastores; 

los  ganados  mayores 

ir  retozando  al  prado, 

y  humildes  a  sus  leyes, 

a  los  barbechos  eondueir  los  bueyes. 

Aqui  las  yeguas  blaneas 

entre  las  rubias  reses, 

las  emes  de  Meneses 

impresas  en  las  ancas, 

relinchan  por  los  potros, 

viendolos  retozar  unos  con  otros. 

Vuelvo,  y  al  mediodia 

la  comida  abundante 

no  me  pone  arrogante; 

que  no  pienso  que  es  niia, 

porque  mirando  al  cielo 

el  dueiio  adoro  con  liumilde  celo. 

Todos  los  aiios  miro 

la  limosna  que  he  dado 

y  lo  que  me  ha  quedado, 

y  diciendo  suspiro, 

viendo  lo  que  se  aumenta: 

"Siempre  me  alcanza  Dios  en  esta  cuenta. 

Voy  a  ver  por  la  tarde, 

ya  cuando  el  sol  se  hum  ilia, 

Ijor  esta  verde  orilla. 


104  DUAMATIC  Ah'T  OF  LOPE  BE  VEGA 

el  esnialtailo  alarde 

(Ic  tautas  arboledas, 

locos  pavones  de  sus  verdes  ruedas; 

y,  como  en  ellos  ojos, 

frutas  entre  sus  hojas, 

blancas,  palidas,  rojas, 

del  verauo  despojos, 

y  en  sus  ranias  siiaves 

canciones  cultas  componer  las  aves. 

Cuando  la  noche  baja, 

y  al  claro  sol  se  atreve, 

cena  me  aguarda  breve, 

de  la  salud  ventaja; 

que,  aunque  con  nienos  sueiio, 

mas  alentado  se  levanta  el  dueiio. 

De  todo  lo  que  digo 

le  doy  graeias  al  cielo, 

que  fertiliza  el  suelo, 

tan  liberal  conmigo; 

poique  quien  no  agradece 

la  deuda  al  cielo,  ni  aun  vivir  nierece. 

In  Juan  Labrador,  el  Villa  no  en  su  rincon,  we  have  another 
example  of  the  peasant,  single-minded,  self-sufficient,  loyal  to 
church  and  state,  but  fixed  in  his  abhorrence  of  court  and  cour- 
tiers. Lope  has  placed  the  scene  in  France,  but  in  spite  of  this 
the  customs  depicted  are  all  those  of  Spain.  Juan  Labrador 
hopes  to  die  without  seeing  the  king,  not  because  of  any  disdain 
for  the  latter  but  because  of  his  modesty,  and  the  consciousness 
of  the  abyss  which  separates  monarch  and  vassal.  The  king  may 
be  served  without  gazing  upon  him.  This  the  latter  finds  out 
and,  disguising  himself,  he  visits  the  peasant  in  his  retreat. 
There  he  is  profoundly  impressed  by  his  host's  splendid  virtiies 
and  convinced  of  his  loyalty  to  the  crown.  The  play  offers  a 
striking  contrast  between  the  point  of  view  of  the  two  men  with 
the  advantage  frankly  on  the  side  of  the  man  of  humble  station. 
Some  of  the  scenes  which  unfold  before  the  spectator  resemble 
genre  paintings,  so  carefully  worked  out  are  they  in  their  details. 
The  best  ones  depict  first  the  hospitality  of  the  peasant  Juan 
Labrador,  the  routine  of  his  daily  life,  his  habits  being  minutely 
drawn ;  the  author  then  presents  in  amusing  fashion  the  old 


DM  AM  AT  IC  ART  OF  LOPE  DE  VEGA  105 

man's  enforced  visit  to  the  king,  who  tries  to  vie  with  his  guest 
in  generosity  and  courtesy.  These  are  among  the  finest  things 
in  all  the  Spanish  comedia,  and  furnish  many  surprising  items 
for  a  study  of  the  manners  and  customs  of  the  Spanish  people. 
Only  the  chief  scene  can  be  quoted  here,  and  as  it  is  impossible 
to  give  only  a  part  without  marring  it  I  shall  reprint  it  entire. 
Juan  Labrador  is  entertaining  the  king,  whom  he  takes  for  a 
mere  courtier  from  Paris. 

(El  Bey  y  Juan  Labrador.) 
Juan.  Tomad  esa  silla,  os  ruego. 

Bey.  Sentaos  vos;  que  tiempo  hay  luego. 

Juan.  iQue  cortesan'o  de  fama! 

Sentaos;  que  en  mi  casa  estoy, 

y  no  me  habeis  de  mandar; 

yo  SI  que  os  mando  sentar, 

que  en  ella  esta  silla  os  doy. 

Y  advertid  que  habeis  de  haeer, 

mientras  en  mi  casa  estais, 

lo  que  OS  mandare. 
Bey.  Mostrais 

un  hidalgo  proeeder. 
Juan.  Hidalgo  no;  que  me  precio 

de  villano  eu  mi  riucon ; 

pero  en  el  sera  razon 

que  no  me  tengais  por  necio. 
Bey.  Si  a  Paris  vais  algi'm  dia, 

buen  amigo,  os  doy  palabra 

que  el  alma  y  la  puerta  os  abra 

en  amor  y  hacienda  mia, 

por  veros  tan  liberal. 
Juan.  jA  Paris! 

Bey.  Pues  ^que  decis? 

^No  ireis  tal  vez  a  Paris 

a  ver  la  casa  real? 

Mai  mi  gusto  persuadis. 
Juan.  jYo  a  Paris! 

Bey.  ^No  puede  ser? 

Bey.  De  ningun  modo,  por  Dios. 

Si  alia  OS  he  de  ver  a  vos, 

en  mi  vida  os  pienso  ver. 
Bey.  Pues  4 que  os  enfada  de  alia? 

Juan.  No  haber  salido  de  aqui 

desde  el  dia  en  que  naci, 

y  que  aqui  mi  hacienda  esta. 


DUAMATIC   Airr  (IF   LOPE   UK    \FJiA 

Dos  caiiias  teiiiro,  una  en  cjisa, 

_v  otia  oil  la  iglesia:    i-stas  son 

on  vida  y  nmerte  el  rincon 

tloiule  una  y  otra  se  pasa. 
Hey.  Segiin  eso,  en  vuestra  vida 

debeis  de  haber  visto  al  Rey. 
Juan.  Nadie  ha  guardado  su  ley, 

iii  es  de  alguno  obedecida 

como  del  que  estais  mirando; 

pero  en  mi  vida  le  vj. 
Bry.  Pues  yo  se  que  por  aqui 

jiasa  mil  veces  eazando. 
Jnan.  Todas  esas  me  he  escoudido 

por  no  ver  el  mas  honrado 

de  los  hombres  en  cuidado, 

que  nunca  le  cubre  olvido. 

Yo  tengo  en  este  rineon 

no  se  que  de  rey  tambien; 

mas  duermo  y  como  mas  bien. 
Hey.  Pienso  que  teneis  razon. 

Juan.  Soy  mas  rico,  lo  primero, 

porque  de  tiempo  lo  soy; 

que  solo  si  quiero  estoy, 

y  acompanado  si  quiero. 

Soy  rey  de  mi  voluntad, 

no  me  la  ocupan  negocios, 

y  ser  muy  rico  de  ocios 

es  suma  felicidad. 
Bey.  (Ap.)   jOh  filosofo  villano! 

mucho  mas  te  envidio  agora. 
Juan.  Yo  me  levanto  a  la  aurora, 

si  me  da  gusto,  en  verano, 

y  a  misa  a  la  iglesia  voy, 

donde  me  la  dice  el  cura; 

y  aunque  no  me  la  procura, 

cierta  limosna  le  doy, 

eon  que  comen  aquel  dia 

los  pobres  deste  lugar. 

Vuelvome  luego  a  almorzar. 
Bey.  i,  Que  almorzais? 

Jnan.  Es  nineria. 

Dos  torreznillos  asados, 

y  aun  en  medio  algi'm  pichon, 

y  tal  vez  viene  un  capon. 

Si  hay  hijos  ya  levantados, 

trato  de  mi  grangeria 

hasta  las  once;  despues 


BEAM  AT  I C  ABT  OF  LOPE  BE  VEGA 

comeiiios  juntos  los  tres. 
Biy.  Conozco  la  envidia  niia. 

Juan.  Aqui  sale  algun  pavillo 

que  se  crio  de  migajas 

de  la  mesa,  entre  las  jiajas 

de  ese  corral  como  un  grillo. 
Beij.  A  la  fortuna  los  pone 

quien  de  esa  manera  vive. 
Juan.  Tras  aquesto  se  apereibe 

(el  Eey,  Senor,  me  perdone) 

una  olla,  que  no  puede 

comella  con  mas  saz(5n; 

que  en  esto  nuestro  rincon 

a  su  gran  palacio  excede. 
Eey.  ^Que  tiene? 

Juan.  Vaoa  y  carnero 

y  una  galli 


107 


Eey. 


Y  j,no  mas? 


Juan.  De  un  pernil  (porque  jamas 

dejan  de  sacar  primero 
esto)  verdura  y  chorizo, 
lo  sazonado  os  alabo. 
En  fin,  de  comer  acabo 
de  alguna  caja  que  liizo 
mi  hija,  y  conforme  al  tiempo, 
fruta,  buen  queso  y  olivas. 
No  hay  ceremonias  altivas, 
truhanes  ni  pasatiempo, 
sino  algun  nino  que  alegra 
con  sus  gracias  naturales; 
que  las  que  hay  en  hombres  tales 
son  como  gracias  de  suegra. 
Este  escojo  en  el  lugar, 
y  cuando  grande,  le  doy, 
conforme  informado  estoy, 
para  que  vaya  a  estudiar, 
o  siga  su  inclinacion 
de  oficial  o  cortesano. 
Eey.  (Ap.)  No  he  visto  mejor  villano 
para  estarse  en  su  rincon. 
Juan.  Despues  que  cae  la  siesta, 

tomo  una  yegua  que  al  viento 
vencera  por  su  elemento, 
dos  perros  y  una  ballesta; 
y  dando  vuelta  a  mis  viiias, 
trigos,  huertas  y  heredades 
(porque  estas  son  mis  ciuda<1ps). 


108  niriM.lTIC   ART  OF   LOPE   DEJEC.A 


cono  y  iiiato  eii  sus  caiiipinas 
un  par  de  liebres,  y  a  veecs 
(los  perdices:  otras  voy 
a  uu  rio  en  que  diestro  estoy, 
y  traigo  faniosos  peces. 
Ceno  poco,  y  ansi  a  vos 
poco  OS  dare  de  cenar, 
conque  me  voy  a  acostar 
daudo  mil  gracias  a  Dies. 

Bey.  Envidia  os  puedo  teiier 

con  una  vida  tan  alta; 
mas  solo  os  hallo  una  falta 
en  el  sentido  del  ver. 
Los  ojos  j,no  han  de  mirar? 
I  No  se  hicieron  para  eso? 

JiKui.  Que  no  les  niego,  os  confieso, 

c-osa  que  les  pueda  dar. 

Eey.  ^Que  importa?     ^Cual  hermosui 

puede  a  una  corte  igualaise? 
^En  que  mapa  puede  hallarse 
mas  variedad  de  pintura  ? 
Rey  tienen  los  animates, 
y  obedecen  al  leon; 
las  aves,  porque  es  razon, 
a  las  aguilas  caudales. 
i  Las  abejas  tienen  rey, 

y  el  cordero  sus  vasallos, 
los  ninos  rey  de  los  gallos; 
que  no  tener  rey  ni  ley 
es  de  alarbes  inhumanos. 

Juan.  Nadie  como  yo  le  adora, 

ni  desde  su  casa  ahora 
besa  sus  pies  y  sus  manos 
con  mayor  veneracion. 

Rey.  Sin  verle,  no  jjuede  ser 

que  se  pueda  echar  de  ver. 

Juan.  Yo  soy  rey  de  mi  rincon; 

pero  si  el  Rey  me  pidiera 
estos  hijos  y  esta  casa, 
haced  cuenta  que  se  pasa 
adonde  el  Rey  estuviera. 
Pruebe  el  Rey  mi  voluntad, 
y  vera  que  tiene  en  mi; 
que  bien  se  yo  que  naci 
p)ara  servirle. 

Eey.  En  verdad, 

si  necosidad  tuviese, 


DEAMATIC  AET  OF  LOPE  BE  VEGA  109 

iprestareisle  algiin  dinero? 
Juan.  Cuanto  tengo,  aunque  primero 

tres  mil  afieiitas  me  hiciese; 

que  del  Sefior  soberano 

es  todo  lo  que  tenemos, 

porque  a  nuestro  Eey  debemos 

la  defensa  de  su  mano. 

El  nos  guarda  y  tiene  en  paz. 
Eey.  Pues   |por  que  dais  en  no  ver 

a  quien  noble  os  puede  haeer? 
Juan.  No  soy  de  su  bien  capaz, 

ni  pienso  yo  que  en  mi  vida 

puede  haber  felicidad 

como  es  esta  soledad. 

Scattered  through  Lope's  comedias  may  be  found  other  ad- 
mirable exampk^s,  taken  from  among  the  common  people,  of  this 
fine  sense  of  honor  and  loyalty,  of  respect  for  high  personal  traits. 
In  las  Florrs  dc  don  Juun  the  Countess,  secretly  in  love  with 
don  Juan,  who,  though  poor  is  the  soul  of  honor,  amuses  herself 
at  his  expense  by  letting  him  buy  for  her  articles  of  value  far 
above  his  means.  But  she  takes  the  merchant  Laurencio  aside 
and,  telling  him  the  truth  of  the  situation,  offers  herself  to  pay 
for  everything  and  to  give  him  a  diamond  as  surety. 

(Laurencio,  con  unos  papeJes  atados.) 
Laurencio.     Aqui  viene  todo,  y  bueuo, 

si  ha  veuido  de  Milan. 
Cviidensa.      Oid. 
Laurencio.  Deeid. 

Condesa.  (Ap.  a  Laurencio.)     A  don  Juan 

que  esta  de  vergiienza  lleno, 

no  pidais  nada;  que  yo 

soy  mejor  que  habeis  pensado. 

Por  piobarle  me  he  burlado. 

^Sabeis  de  piedras? 
Laurencio.  Pues  ^-nof 

Condensu.      Guardad  aqueste  diamante; 

que  yo  03  enviare  el  dinero. 
Laurencio.     Ni  vuestro  diamante  quiero 

ni  otra  prenda  semejante; 

que  mas  estimo  servir 

a  un  hombre  como  don  Juan 

que  cuanto  vale  Milan; 

y  si  volveis  a  pedir. 


110  in;  AM  AT  u-  Airr  of  I.OPE  de  vega 

la  casa  Ic  lio  do  fiar, 
los  hijos  y  la  iniijer; 
que  la  virtud  ha  tie  ser 
riqueza  en  cualquier  lugar. 
,4  Hay  cosa  de  mas  estima 
que  ver  este  caballero 
justar,  0  con  el  acero, 
en  el  torneo,  en  la  esgrima? 
Y  en  los  aetos  militares, 
cuando  en  la  plaza  se  ven, 
;  hay  eosa  que  no  haga  bien? 
Giacias  tiene  singulares. 
!Mal  he  hecho  en  alaballe; 
que  es  oficV»  de  tercero. 

In  previous  chapters  other  rare  types  created  by  Lope  have 
been  touched  upon.  Among  them  are  monarchs  and  noblemen, 
both  good  and  base,  whose  delineation  involves  Lope's  conception 
of  righteousness  among  men  and  justice  for  society;  soldiers  M'ho 
combine  valor  and  boasting  and  introduce  features  of  comedy ; 
the  nabob  who  returns  to  Madrid  to  become  the  cynosure  of  all 
eyes,  and  thereafter  the  victim  of  money-seeking  swindlers  or 
courtesans ;  the  young  gallant  portrayed  with  ceaseless  variety, 
endowed  with  many  virtues  well  summed  up  in  the  following 
lines  which  refer  to  one  of  the  characters  of  el  Molino: 


es  uu  honibre  tan  bien  hecho, 
que  algunas  veces  sospecho 
que  es  persona  principal. 
Buen  rostro,  gran  cortesia, 
gran  musico  de  vihuela.  .  .  . 
jPues  danzar!  conio  en  escuela. 
Todo  para  envidia  niia. 
Tira  la  barra  una  legua, 
que  no  hay  senal  que  no  borre, 
y  si  alguna  yegua  corre, 
parece  viento  la  yegua. 
Tiene  fuerza  como  un  toro, 
ligereza  como  cabra, 
y  gracia  que  no  hay  palabra 
que  no  parezca  de  oro. 


BEAM  AT  IC  ART  OF  LOPE  BE  VEGA  111 

Or  he  has  every  kind  of  vice  and  defect,  as,  for  example,  the 
typical  Undo  so  well  described  in  la  Viuda  valenciana.  The 
passage  has  already  been  quoted.  Then  we  find  Lope's  heroine 
or  ingenue  no  less  diversified  than  the  youthful  gallant  or  lover, 
and  showing  an  astounding  insight  into  woman's  soul.  An  at- 
tractive portrait  gallery  could  be  formed  of  all  the  servants  and 
lackeys,  among  whom  are  finely  individualized  types.  Many 
other  personages  could  be  added,  but  I  will  mention  only  the 
caricature  or  fignron  whom  Lope  presented  now  and  then  to' 
ridicule  the  many  foibles  and  weaknesses  of  us  all.  He  has  given 
us  a  resume  himself  of  those  characters  which  had  served  as 
models. 

Fisberto.     Es  aquel  hombre  <le  aquellos 

que  se  llaman  en  la  eorte 

figuras. 
Paula.  De  hablar  acoite: 

I  en  que  le  parece  dellos"? 
Fisberto.     Todo  hombre  euya  persona 

tiene  alguna  garatusa, 

o  cara  que  no  se  usa, 

o  habla  que  no  se  entona; 

todo  hombre  cuyo  vestido 

es  flojo  o  amunecado, 

todo  espetado  o  mirlado, 

todo  efetero  o  fruncido; 

todo  mal  cuello  o  cintura, 

todo  criminal  bigote, 

toda  bestia  que  anda  al  trote, 

es  en  la  corte  figura. 

— El  Auseiite  en  eJ  Iiigar,  II,  viii. 

In  stating  above  wherein  Lope's  artistic  formula  did  not 
always  reflect  the  actual  world  about  him,  I  tried  to  make  clear 
that  he  constantly  modified  it  by  mingling  fact  with  fiction,  by 
copying  contemporary  manners,  and  thus  approaching  more 
nearly  the  formula  of  human  life.  Therefore,  by  carefully  glean- 
ing innumerable  details  here  and  there  from  his  comedia,  the 
student  of  Spanish  culture  may  put  together  an  unsurpassed 
picture  of  Spanish  life  during  the  sight  de  ovo.  Street  scenes 
and  glimpses  of  domestic  life  furnish  ample  nuiterial,  while  the 


112  nUAMATIC   AUT  OF   lAH'E   DE    I  EGA 

cu.stoiiis  wliii'li  coiiti'ollcd  the  relations  Ix'twccii  men  mikI  iiumi,  or 
men  and  women,  eoukl  be  admirably  illustrated.  Jjope  was  too 
great  a  realist  to  let  the  facts  of  life  escape  him,  and  we  may 
thus  sunder  the  more  artificial  features  of  his  creation  from  the 
genuine.  The  reader  will  find  liis  own  effort  to  appreciate  the 
real  Lope  amply  repaid ;  he  will  find  in  him  that  rarest  of  rare 
combinations,  the  inspired  poet  and  the  unconscious  chronicler 
of  his  times. 


BEAM  AT  IC  ABT  OF  LOPE  DE  VEGA  113 


TWO  EXAMPLES  OF  LOPE  'S  COMEBIA :  A  TRAGEDY  AND  A 
COMEDY 

It  is  evident  to  any  open-minded  critic  that  so  large  a  number 
of  good  plays  as  Lope  has  written  might  easily  make  some  readers 
prefer  this  play  or  that  which  others  would  set  aside  for  a  very 
different  choice ;  it  is  also  a  vain  task  in  so  short  a  space  to  give 
long  lists  of  my  preferences  with  the  reasons  therefor.  But  if 
we  keep  in  view  the  chief  elements  of  Lope's  formula  it  is  pos- 
sible to  pick  out  a  number  of  plays  which  contain  them  in  their 
most  perfect  form ;  that  these  may  betray  the  defects  of  his 
creation  as  well  as  his  great  qualities  Is  to  be  expected.  To 
illustrate  them  here,  let  me  select  one  tragedy  and  one  comedy, 
Fuente  Ovcjnna  and  el  Auscnte  en  el  Lugar. 

No  better  example  of  Lope's  courage  in  attacking  overwhelm-- 
ing  themes  can  be  found  than  Fuente  Ovejuna.    It  is  the  history 
of  a  village  subjected  to  every  conceivable  base  act  of  injustice 
on  the  part  of  its  overlord,  a  comendador  of  one  of  the  great   , 
military   orders.     From  the  moment  the  curtain   rises  we   are  / 
under  the  spell  of  the  sinister  authority  which  dominates  the  ' 
whole  play  to  the  very  end,  a  crude,  primitive  and  mighty  force, 
brutal  and  repelling,  but  whollj''  in  keeping  with  the  object  which 
Lope  had  set  himself.     This  was  none  other  than  to  depict  a 
primitive  culture  as  exemplified  by  a  naive,  tolerant,  unculti- 
vated people  in  conflict  with  the  injustice,  animal  passion  and 
base  impulses  of  a  powerful  individual.     Lope's  art  never  ex- 
pressed itself  in  broader  or  bigger  strokes.    The  prevailing  theme, 
that  miglit  makes  right,  reaches  so  much  farther,  its  meaning  is 
made  so  iiuich  decider  than  is  evident  from  the  character  drawing 
of  the  brutish  comendador,  that  the  reader  may  deduce  there- 
from a  veritable  political  philosophy.     The  whole  play  is  a  plea 
for  liberty,  for  the  rights  of  a  community  and  its  individuals, 
coupled  with  a  fierce  arraignment  of  inherited  privileges  used 
for  selfish  and  wicked  ends.    iTechnieally;  the  play  moves  with 


in  DHAMATIC   Airr  OF   I.OPK   DE    VEGA 

extraordinary  i-apidity  from  scciu'  lo  sci'iio,  at  times  too  fast 
to  let  tlu'  spcctatoi-  t^rasp  the  lull  meaning  of  word  or  action. 
Xt'Vt'rllit'lt'ss.  a  cci-tain  lack  of  smoothness  which  may  he  imputed 
to  the  phi\'  is  in  ki'ei)ing  with  tlie  impulses  which  dominate  it. 
Here  we  hchold  a  single  l)eing  who  has  incessantly  wronged  a 
wiiole  community,  and  it  is  the  community  as  a  whole  which 
taki\s  vengeance  on  the  fiend.  Thus  the  village  of  Fuente  Ove- 
juna  is  the  chief  personage  of  the  play.  The  qualities  which 
stand  out  in  this  tragedy  are  thefeontrast^  between  the  terror- 
inspiring  scenes  wlicn  the  vomcndador  is  on  the  stage  and  the 
simplicity  of  the  pictures  which  present  the  people  as  they  live, 
the  variety  of  poetic  speech  with  which  the  author  has  painted 
all  the  passions  of  men  and  women.  As  an  example  of  Lope's 
genius  in  giving  expression  to  widely  differing  elements  of  so- 
ciety colored  by  a  note  of  primitive  culture  this  play  is  unsur- 
passed. We  have  the  terse  utterances  of  the  overbearing  comen- 
dador,  the  natural  and  simple  speech  of  the  village  folk,  homely 
wit,  and,  above  all.  a  popular  element  in  song  and  public  amuse- 
ments in  the  delineation  of  which  Lope  has  few  peers.  _At^  no 
tune  are  we  permitted  to  shake  off  the  power  of  the  monster, 
we  are  never  free  from  his  pursuit.  Repeatedly  a  pleasing  rustic 
scene  is  interrupted  by  his  entrance,  and  the  shadow  hanging 
over  the  community  again  darkens  the  whole  picture. 

Few  plays  of  Lope  present  so  many  living  characters,  actual 
types  of  the  Spanish  people  who  have  thus  been  preserved  for 
us.  The  alcalde  and  regidor  of  the  early  days  w4th  their  rugged 
honesty  and  frankness,  village  maid  and  rustic^you^h,  besides 
various  other  peasant  types,  are  depicted  on  the  same  canvas  w'ith 
the  grim  representative  of  despotic  nobility.  For  there  can  be 
no  doubt  that  the  comcndador,  far  from  being  a  mere  individual, 
represents  the  privileged  class,  which  the  sane  and  democratic 
people  of  Spain  have  never  thoroughly  assimilated,  the  over- 
bearing lord  who,  in  the  words  of  Lope,  does  not  deign  to  take 
his  hat  off  to  all,  who  considers  the  lower  classes  merely  as  tools 
to  his  own  ends.  A  play  with  such  a  theme  of  crime  and  revenge 
is  bound  to  have  some  scenes  of  unparalleled  violence,  such  as 


DRAMATIC  AET  OF  LOPE  BE  VEGA  115 

the  abduction  of  the  comendador's  victims,  floggings  and  cruelties 
followed  by  rioting  and  the  summary  revenge  of  the  whole  village, 
the  torture  inflicted  by  the  examining  judge  on  those  whom  he 
deems  acquainted  with  the  guilty.  Yet  the  wliole  is  brought  with 
such  mastery  to  a  logical  conclusion  that  the  spectator  finds  every 
esthetic  and  moral  demand  satisfied. 

The  dialogue  is  relatively  free  from  artifice  and  the  language 
on  the  whole  is  simple.  As  regards  the  construction,  any  division 
into  acts  and  scenes  could  really  be  dispensed  with,  as  there  is 
no  logical  pause  anywhere  in  the  progress  of  the  plot.  There 
are^sojpassag^  with  a  distinct  bearing  on  the  culture  of  the 
author's  day,  such  as  satire  on  false  learning  and  the  academic 
spirit,  or  ridicule  of  certain  insincerities  of  society. 

One  of  Lope's  best  comedies  is,  in  my  opinion,  el  Auscnte  en 
el  Lugar.  If  a  comedy  has  the  good  fortune  not  to  have  the 
traditional  guns  of  heavy  criticism  trained  upon  it,  it  will  suffice 
for  it  to  have  two  fundamental  qualities  to  insure  its  success: 
a  rapid  forward  motion  from  the  first  to  the  last  scene,  and  the 
ability  of  getting  every  reaction  desired  out  of  the  audience. 
Above  all,  it  must  not  have  tlie  formality  of  tragedy  which 
requires  moments  of  repose  and  only  one  great  reaction  on  the 
part  of  the  audience  at  the  supreme  moment  of  tragic  climax. 
Comedy  demands  a  reaction,  a  stirring  of  the  public's  risibility 
with  every  comic  incident,  or  it  is  a  failure  as  comedy.  To  me 
it  seems  that  el  Ausente  en  el  Lugar  fills  these  prerequisites 
admirably.  This  play,  too,  should  be  presented  with  no  fall  of 
curtain  from  start  to  finish;  it  is  an  unbroken  jeu  d' esprit,  a 
bit  of  royal  fooling  dominated  by  the  wit  and  resourcefulness  of 
Esteban,  a  servant,  one  of  Lope's  most  delightful  and  tangible 
creations.  Here  is  a  personage  who  lives  and  breathes,  and 
incidentally  lends  the  vigor  of  real  being  to  his  master.  No 
simpler  plot  could  be  devised,  since  it  is  in  reality  a  naive  game 
of  hide-and-seek,  in  which  the  young  gallant  Carlos  tries  to  make 
others  believe  that  he  has  left  town  when  he  is  actually  present, 
thereby  getting  into  a  network  of  contradictions  and  difficulties. 
The  necessity  of  amusing  stage   business,   of   varied   gifts  and 


116  i)i:.fM.i/ic  Airr  of  i.ori-:  df.  \  fga 

resourcefulness  on  tlie  part  of  the  actors,  is  apparent  everywhere, 
and  the  i)lay  in  the  hands  of  a  pfood  company  must  have  de- 
ligliled  till'  audience  and  justified  tlie  current  opinion  that  to 
attract  the  |)uhlic  there  was  no  inventor  like  the  inimitable  Lope. 
The  play  has  all  his  predominant  qualities  of  facile  verse,  sim- 
plicity of  tlialogue.  and,  to  a  marked  extent,  freedom  from  poetic 
verbiage.  Tlu're  is  no  great  motive  force  behind  the  incidents, 
aiul  the  coming  and  going  of  the  characters  are  not  based  on 
reason,  as  may  be  expected  in  a  play  of  pure  fancy  and  wit. 
The  element  of  balance  also  is  present,  the  young  lover  and  his 
(lama  being  offset  by  the  servant  Esteban,  who  is  attached  to 
the  lady's  servant;  incidents  and  ideas  now  and  then  run  in 
pairs,  traditional  novelistic  features  are  not  lacking,  such  as  con- 
ceahnent,  deception,  and  the  like.  But  the  author's  invention 
moves  with  such  smoothness,  even  stereotyped  elements  are  han- 
dled with  such  a  light  touch,  the  traits  of  surprise  in  incident 
and  sparkling  dialogue  are  so  lavishly  spread  over  the  whole, 
the  verse  is  so  admirable  throughout,  that  fault-finding  is  dis- 
armed at  every  turn.  Superficial  it  all  may  seem  now,  Init  to 
the  public  of  Lope's  day  it  was  for  the  hundredth  time  a  source 
of  gratitude  for  two  hours  delightfully  spent.  Few  comedias 
retain  such  vitality  after  so  great  a  lapse  of  time. 

In  both  of  these  plays  we  thus  find  Lope's  great  qualities  as 
well  as  the  defects  of  his  artistic  formula.  But  many  others 
could  be  selected  to  demonstrate  with  equal  clearness  how  fre- 
quently and  successfully^  he  approached  the  formula  of  human 
life.  The  reader  may  then  fairly  see  how  in  the  vast  range  of 
his  poetic  creation  Lope  carried  his  audiences  from  utterailces 
of  the  merest  amusement  and  gaiety,  which  represent  the  pass- 
ing phases  of  life,  to  the  deep  and  genuine  voice  of  tragedy  and 
pain  which  must  always  endure. 


LA  DAMA  BOBA 


II 

LA  DAMA  BOBA 

The  fundamental  idea,  of  our  play,  that  love  makes  the  simple- 
minded  clever,  is  an  old  one,  having  been  best  voiced  by  Ovid, 
as  I  have  had  occasion  to  state  before.  Tlie  far-reaching  influ- 
ence of  the  Latin  poet  carried  this  conception  of  the  passion  of 
love  over  all  parts  of  Europe,  where  it  found  highly  diversified 
expression  in  fiction  and  drama.  The  earliest  narratives  of  in- 
terest to  us,  because  they  embody  this  power  of  love  over  the 
rude  or  untutored  mind,  may  be  found  among  the  Italian  novelle, 
whence  it  spread  into  amorous  literature  of  other  countries. 
The  principal  conception  is  so  fiexible  and  so  easily  used  in 
scores  of  difi'erent  plots  or  stories  that  the  presence  of  the  idea 
in  any  literary  work  by  no  means  always  implies  indebtedness 
to  other  material.  This  is  markedly  so  in  the  case  of  Lope  and 
of  the  play  of  la  Dama  hoha  which  rests  on  a  very  meager  idea, 
namely,  that  the  mind  of  a  silly  girl  may  be  improved  by  love. 
This  could  well  have  been  considered  a  classic  commonplace  in 
the  author's  day,  but  he  amplified  it  in  his  own  peculiar  way, 
conceiving  a  complete  plot  to  serve  as  a  frame.  The  comedia 
of  la  Duma  hoha  is,  therefore,  a  noteworthy  specimen  of  Lope's 
facile  play  of  fancy.  It  is  his  own  from  beginning  to  end.  An- 
other example  of  play  embodying  the  main  idea  is  Calderon's 
De  una  causa  dos  efectos.  Here  we  have  the  contrast  of  two 
sons,  of  whom  the  one  is  given  to  learning  and  serious  living  with 
a?  touch  of  pedantry,  while  the  other  is  light-headed  and  irre- 
sponsible. Here  love,  depicted  as  containing  within  itself  all  the 
sciences,  also  works  a  cure,  teaching  and  ennobling  the  inferior 
character.  As  is  the  case  with  Finea  of  Lope,  the  regenerate 
Fadrique  confesses  his  transformation  gratefully,  paying  to  love 
the  following  tribute : 


118  LA   DAM  A  BOB  A 

Dc  gala,  ingenio  y  valor 
amor  es  dueuo;  pucs  fuera 
eierto,  que  ingenio  no  liuliicMa, 
gala  y  valor  sin  amor. 
El  honibre  (|ue  con  mayor 
perfeceion  lueir  desea, 
y  en  solo  salir  se  emplea 
mas  galan  que  el  mismo  Apolo, 
amor  lo  hace,  pues  es  solo 
porque  su  dama  le  vea. 
El  que  mas  ansia  ha  tenido 
de  mirarse  sefialado 
por  su  ingenio  y  celebrado 
de  cortesano  entendido, 
la  principal  causa  ha  sido 
amor,  para  que  pretenda 
en  una  y  otra  contienda 
de  ingenio,  por  varios  modos, 
verse  aplaudido  entre  todos, 
porque  su  dama  lo  entienda. 
El  que  mas  vanaglorioso, 
coronado  de  victorias, 
en  las  humanas  historias 
hizo  su  nombre  famoso, 
amor  es  el  poderoso 
afecto,  que  a  ellas  le  llama, 
no  es  solo  opinion  y  fama 
las  que  le  ilustran  valiente, 
pues  lo  hace  solamente, 
porque  lo  escuche  su  dama. 
Yo  asi,  como  nunca  he  amado 
hasta  ahora,  ni  he  tenido 
dama,  ni  galan  he  sido, 
ni  entendido,  ni  atentado; 
pero  ya  que  enamorado 
sigo  la  iniposible  estrella 
de  la  hermosura  mas  bella, 
los  medios  he  de  buscar; 
que  con  nadie  quiero  estar 
mas  airoso  que  eon  ella. 

It  is  more  than  likely  that  Calderon  had  la  Dama  boha  in  mind 
when  he  conceived  his  play  De  una  causa  dos  efectos,  for  in 
spite  of  the  vast  difference  in  the  two  stories  the  fundamental 
contrast  between  two  brothers  (in  Lope  we  have  two  sisters)  and 


INTRODUCTION  119 

a  few  details  of  the  action  make  a  slight  connection  in  the  plots 
probable. 

The  exposition  of  la  Dama  hoha  is  excellent.  It  is  s])irite(l 
and  leads  the  audience  at  once  into  the  story.  Nor  does  it  lack 
in  immediate  comic  eflfect,  for  Liseo,  who  is  presented  at  the  rising 
of  the  curtain  as  a  self-confident,  eager  lover,  filled  with  high 
hopes  as  regards  his  fiancee,  no  sooner  learns  the  real  state  of  her 
mind  from  the  newly  arrived  Leandro,  than  his  marital  project 
comes  tumbling  about  his  ears.  He  finds  that  his  family  has 
contracted  him  to  a  simpleton.  Yet  the  word  of  a  gentleman 
cannot  be  broken.  So,  leaving  the  audience  expectant  as  to  the 
solution  of  his  difficulty,  the  exposition  closes.  "We  are  then 
introduced  into  the  home  of  Octavio,  the  father  of  Nise  and  Finea, 
and  the  main  plot,  an  exceedingly  simple  one,  begins  to  unfold. 
Octavio  tells  of  his  perplexity  regarding  his  two  daughters,  how 
little  fit  they  are  in  their  extremes  of  ignorance  and  learning 
to  enter  into  the  married  state.  As  this  introductory  scene  is 
omitted  in  all  printed  versions  the  structure  of  the  play  has 
been  greatly  marred.  In  the  following  scenes  we  make  the  ac- 
quaintance, first,  of  the  blue-stocking  Nise,  and  then  of  the  silly 
Finea,  each  being  admirably  portrayed  with  her  characteristic 
qualities.  In  subsequent  entrances  we  meet  a  number  of  young 
gallants,  especially  one  Laurencio,  w^io  all  belong  to  the  culto 
circle  of  Nise.  The  latter  seems  deeply  interested  only  in  Lau- 
rencio, but  here,  too,  the  course  of  true  love  does  not  run  smooth. 
For  presently  we  find  Laurencio  abandoning  the  clever  Nise  for 
the  simple  Finea,  whose  dowry  has  been  greatly  increased  over 
that  of  her  sister  by  an  indulgent  uncle  in  order  that  her  defects 
of  mind  may  prove  less  repellent  to  a  prospective  suitor.  The 
latter  has  been  found  in  Liseo,  who  now  enters,  and,  having  been 
introduced  to  his  7iovia  in  an  amusing  domestic  scene,  he  finds 
his  worst  fears  realized.  In  despair  he  decides  to  break  off  the 
engagement  and  to  turn  his  attentions  to  the  more  clever  sister. 

In  the  second  act  Nise  has  learned  of  Laurencio 's  perfidy 
and  a  quarrel  ensues  between  the  two  lovers.  Liseo,  for  his  part, 
now  thoroughly  interested   in  Nise,  finds  Laurencio  guilt}'   of 


120  LA    DAM. I    HOHA 

(Iduhlc-dcjilin^'  ill  so  far  as  lie  makes  love  to  Finca,  ami  also  leads 
Xise  to  believe  that  he  is  still  eourtiiig  her.  He  challenges  him 
to  a  duel,  which,  however,  is  subsequently  avoided  by  their  recon- 
ciliation and  the  arrival  of  Octavio.  The  gradual  improvement 
of  Finea  *s  mind  is  also  shown ;  she  acquires  some  independence 
of  thought,  wit  and  resourcefulness,  and,  above  all.  she  becomes 
conscious  of  the  influence  of  Laurencio's  suit.  In  the  second  act, 
however,  she  is  still  a  hoha,  unacquainted  with  tlie  wiles  of  love 
or  the  dangers  of  her  ignorant  state.  As  a  consequence  we  have 
some  amusing  scenes  betwen  her  and  her  lover,  who  finds  it 
necessary  to  explain  to  her  every  step  taken  in  the  course  of  his 
wooing^  The  father,  for  his  part,  is  filled  with  great  anxiety 
when  he  learns  from  lier  own  lips  of  the  new  courtsliip,  lest  her 
folly  and  ignorance  mislead  her.  Liseo  and  Laurencio  have  in 
the  meantime  agreed  to  help  one  another  in  their  respective  suits. 
But  Nise  is  not  at  all  inclined  to  listen  to  Liseo 's  unexpected 
advances,  while  Laurencio  is  more  successful,  having  received 
Finea 's  promise  of  marriage  in  the  presence  of  various  witnesses. 
In  the  third  act  Finea 's  regeneration  is  almost  complete ;  she 
commends  the  power  of  love  as  does  Fadrique  in  Calderon's  play. 
Liseo,  having  been  rebuffed  by  Nise  and  finding  such  marked 
improvement  in  Finea,  determines  to  return  to  the  latter,  and 
thus  live  up  to  his  contract  w^ith  the  father.  This  places  Lau- 
rencio, whose  suit  has  met  wnth  violent  opposition  on  the  part 
of  the  girl's  famil.y,  in  a  difficult  situation,  and  he  and  Finea 
s  devise  a  trick  to  deceive  Liseo  into  believing  that  she  is  still  as 
simple  as  ever.  In  this  effort  Finea  succeeds  by  playing^the 
fool  in  her  next  intervicAV  with  Liseo,  and,  the  latter  completely 
hoodwinked,  again  plans  to  woo  Nise,  whose  intelligence  is  pref- 
erable at  all  costs  to  the  follies  of  Finea.  At  this  juncture  the 
father  decides  to  refuse  Laurencio  further  admittance  into  the 
house,  whereupon  Finea  and  her  servant  Clara  conceal  the  lover 
and  his  servant  Pedro  in  the  attic.  There  the  four  are  discov- 
ered enjoying  a  fine  spread,  and  Octavio,  seeing  that  further 
opposition  to  Finea 's  union  with  Laurencio  is  useless,  gives  his 
consent ;  Nise  also  yields  to  the  suit  of  Liseo. 


INTRODUCTION  121 

The  close  is  less  abrupt  than  usual,  because  Lope  brings  his 
main  idea,  the  cure  of  Finea  and  her  victory  over  the  others  as 
well  as  herself,  to  a  logical  conclusion.  The  fact  that  the  lovers 
all  change  their  allegiance  at  least  once  is  not  surprising  in  a 
play  dependent,  as  a  game  of  chess,  on  a  series  of  moves  and 
countermoves  which  are  born  of  rapid  decisions  and  impulses. 
Many  of  the  elements  of  Lope's  formula  are  present  in  la  Dama 
hoha.  We  have  duplication  in  the  criada  hoha,  who  is  cured  by 
love,  as  is  her  mistress,  clearly  a  theatrical  combination.  In 
addition  to  the  contrast  between  the  two  sisters,  a  clever  touch 
is  added  in  the  differentiation  of  the  characters  of  Laurencio  and 
Liseo.  The  former  displays  a  frankness  almost  brazen  in  his 
preference  for  money  over  wits,  while  the  latter  prefers  intelli- 
gence to  wealth.  Therefore  each  forsakes  his  original  choice, 
Laurencio  abandoning  Nise  for  Finea,  and  Liseo  turning  from 
Finea,  who  was  contracted  to  him  by  his  relatives,  to  Nise.  There 
is  no  reason  for  shaking  the  head  over  this  code  of  ethics  which 
emphasizes  the  superior  attraction  of  a  larger  dowry.  Apart 
from  the  fact  that  it  reflects  the  cold  and  calculating  attitude  on 
the  part  of  certain  young  men  the  world  over,  the  contrast  of  the 
two  young  gallants  afforded  Lope  an  occasion  for  satirizing  the 
•ways  of  human  society. 

The  play  also  voices  an  amusing  criticism  of  poetic  fads,  of  • 
stilted  speech,  and  ridicules  what  our  modern  slang  would  desig- 
nate as  high-brow  affectation.     This  is  delightfully  accomplished 
in  such  scenes  as  that  in  which  the  servant  Celia  brings  the  blue- 
stocking Nise  a  copy  of  Heliodorus,  and  the  latter  remarks : 

.  .  .  Es  Helioiloro 

griego  poeta  divino. 
and  the  prosaic  servant  asks : 

^  Poeta?     Pues  pareciome 

prosa. 
and  Nise  characteristically  answers: 

Es  que  hay  poesia 

en  prosa. 
and  Celia  replying  on  behalf  of  common  sense  says : 
No  lo  sabia. 


\-2-2  LA    D.iM.t   BOB  A 

Iiiasiiuicli  as  the  jtowfr  oi"  love  may  make  the  simpleton  -wise 
and  clcxcr,  it  is  iiol  astonisliiiif,'  lo  liiid  llio  miracle  of  learning 
willioiit  slii.ly  added.  Xol  oidy  Fiiica,  \)\\\  hw  servant  Clara 
refer  to  the  classics,  and  thereby  live  up  to  the  tradition  of  the 
stage  language  and  demonstrate  to  the  most  exacting  of  critics 
that  the  reform  of  their  wits  is  complete. 

^ere  are  interesting  popular  elements  adtled  to  the  plot, 
such  as  singing  and  dancing.  We  are  led  to  infer  that  tlie  latter 
reflected  a  feature  in  the  education  of  young  women  of  good 
families,  who  took  lessons  in  these  arts  from  professional  teachers. 
We  have  other  evidence  for  this,  and  may  consider  it  an  imita- 
tion of  practices  at  court  and  in  aristocratic  families,  where 
singing  and  dancing  were  a  common  diversion. 

Finally,  it  would  be  difficult  to  find  a  play,  in  which  there 
are  greater  opportunities  for  talented  actors.  It  is  evident 
throughout  that  Lope  had  in  mind  specific  players,  presumably 
those  whom  he  himself  affixed  to  the  list  of  dramatis  pcrsonae. 
The  title-role  above  all  others  demands  a  nicety  of  interpretation 
and  refinement  of  action  which  would  make  the  actress  strike  a 
happy  mean  between  exaggerated  imbecility  and  unwarranted 
intelligence. 

My  notes  to  the  play  are  intended  especially  for  the  average 
student  of  Lope,  whose  native  language  is  not  Spanish.  I  am 
aware  that  so  extensive  a  commentary  as  I  have  added  is  open 
to  criticism,  and  I  am  no  less  certain  that  as  long  as  I  am  per- 
mitted to  labor  at  these  choice  tasks,  my  results  may  contain 
some  grave  misjudgments.  In  this  particular  case  it  was  not 
my  intention  to  overwhelm  a  simple  comedy  by  floods  of  use- 
less erudition.  It  was  my  desire  not  only  to  illustrate  various 
points  of  the  play,  but  to  illuminate  Spanish  culture  of  the 
Golden  Age  by  quoting  interesting  contemporary  evidence. 
Every  detail  of  the  play  which  tells  us  something  of  Spanish 
life  as  it  once  was  is  worthy  of  careful  consideration.  I  have  tried 
to  take  the  point  of  view  of  the  average  person  who  may  be  inter- 
ested in  Lope  de  Vega  and  the  Spanish  drama  as  much  as  that 


INTEODUCTION  123 

of  the  scholar  who  is  apt  to  be  better  informed  than  the  erring 
commentator.  It  is  also  undeniable,  that  mere  references  without 
extensive  quotations  do  not  impel  the  reader  to  take  the  trouble 
of  informing  himself  in  the  matter  referred  to.  I  must  repeat, 
therefore,  that  many  a  note  may  seem  gratuitous  to  a  Spaniard, 
but  that  I  none  the  less  entertain  the  hope  that  my  effort  to 
stimulate  the  study  of  Lope  may  not  fall  on  barren  ground  in  my 
own  country. 


/..f   DAM. I    BOBA 


THK  AUTOGRAPH 


The  aiitograpli  manuscript  of  tlic  Dama  boha  has  l)('en  pre- 
served in  an  unnsnally  good  condition.  There  are  only  a.  few 
insignificant  erasures  made  by  Lope  liimself,  and  these  concern 
verses  which  the  author  crossed  out,  and  then  rewrote  in  a 
slightly  different  form.  I  have  included  them  in  the  text  in 
parenthesis  because  they  throw  some  light  on  Lope's  manner  of 
composition.  The  excellent  state  of  preservation  of  this  manu- 
script, as  well  as  the  few  licenses  to  act  (often  appended  in  large 
numbers  to  the  last  pages  of  manuscripts),  indicate  that  this 
original  was  carefully  kept  by  its  owners  from  the  very  begin- 
ning. We  know  that  the  play  was  written  for  the  actress 
Jeronima  de  Burgos,  but  it  is  by  no  means  clear  how  long  she 
had  the  autograph  in  her  possession.  All  that  Lope  says  (in  a 
letter  to  the  Duke  of  Sessa,  date?  1617)  is:  "nunca  V.  Ex.  tubo 
ki  dama  boha,  porque  esta  es  de  Jeronima  de  Burgos,  y  yo  la 
imprimi  por  una  copia,  firmandola  de  mi  nombre,"  which  may 
be  interpreted  to  mean  that  since  the  play  belonged  to  the  actress, 
Lope  (whether  he  still  had  the  autograph  or  not)  could  not  send 
it  either  to  the  Duke  or  to  the  printer.  Be  all  this  as  it  may, 
suffice  it  to  add  that  the  original  finally  got  into  the  famous 
Osuna  Library  and  is  now  a  precious  possession  of  the  Biblioteca 
Nacional  at  Madrid,  vitrina  21,  no.  5.  The  old  number  has  been 
discarded.  In  the  Catdlogo  de  las  piezas  de  teatro  que  se  con- 
servan  en  el  departamento  de  manuscritos  de  la  Biblioteta 
Nacional,  compiled  by  A.  Paz  y  Melia  (Madrid,  1899),  it  is  no. 
810(1). 

A  comparison  of  the  autograph  with  the  first  printed  edition 
makes  it  hard  to  believe  that  Lope  examined  with  any  great  care 
the  copy  which  was  given  to  the  printer.  He  says,  as  we  have 
seen,  that  he  signed  it,  and  so  makes  himself  responsible  for 
the  form  in  which  the  play  has  hitherto  been  known.  How 
many  omissions  and  discrepancies  there  are  in  the  early  editions 


INTRODUCTION  12r, 

I 

may  be  seen  from  the  appended  list  of  variants  (p.  129).  I  am 
inclined  to  believe  that  a  fairly  acceptable  prompter's  copy  was 
handed  to  Lope  to  sign,  and  that  he  glanced  at  it  very  hastily 
before  sending  it  to  the  printer.  The  chief  passages  omitted  are 
precisely  such  as  might  have  been  cut  by  the  manager  before 
the  parts  were  distributed  among  the  company ;  but  to  this  loss 
must  be  added  not  only  the  changes  for  the  worse  in  occasional 
phrases,  which  surely  could  not  have  been  countenanced  by  the 
author,  but  also  a  large  number  of  typographical  errors,  so  com- 
mon in  the  printed  comcdias.  A  great  many  stage  directions  had 
to  be  added  as  Lope  does  not  indicate  all  exits  and  entrances, 
and  the  modern  division  of  each  act  into  scenes  was  to  him,  of 
course,  an  unnecessary  device  although  it  is  a  helpful  one  to  us. 
Generally,  but  not  always,  any  entrance  or  exit  is  indicated  by  a 
cross  (*)  ;  saiga  and  entre  are  used  interchangeably  for  en- 
trances, and  cntresc  despidasc  or  vdyase  for  exits. 

I  have  ventured  to  add  a  minimum  of  stage  directions  in 
order  to  make  these  exits  and  entrances  clearer  than  they  are  in 
the  original;  in  every  case  the  addition  is  enclosed  in  brackets. 
Any  superfluous  letter,  syllable,  or  word  has  been  left  in  paren- 
thesis or  indicated  in  the  notes,  but  this  occurrence  is  very  rare. 

I  have,  of  course,  left  untouched  the  many  discrepancies  in 
spelling,  such  as  ynteres,  interes ;  hombre,  onbre ;  casa,  cassa ; 
hablaban,  hablauan ;  dijo  (very  rare)  dixo;  and  many  others. 
The  original,  with  negligible  exceptions,  omits  all  punctuation. 
This  necessitated  the  capitalization  of  the  first  word  of  every 
sentence,  and  brought  me  face  to  face  with  Lope's  arbitrary  use 
of  capitals  in  general,  a  feature  which  has  been  modified,  since 
it  seemed  absurd  to  retain  capital  letters  in  the  middle  of  a  word, 
or  proper  names  with  a  small  letter,  and  such  words  as  Rayo, 
Planeta,  with  a  capital.  These  phenomena  only  annoy  the  aver- 
age reader,  and  tell  the  scholar  nothing  that  lie  does  not  already 
know  of  seventeenth  century  manuscripts.  The  very  few  ac- 
cents of  the  original,  chiefly  forms  of  the  third  singular  pre- 
terite, have  been  retained.  Wherever  the  name  of  the  person 
sjoeaking  is  indicated  by  only  a  letter  or  two,  I  have  written  it 


12(5  /..I  n.iM.i  nor.t 

ill  full:  ;ililinvi;i1  ions  in  llic  text  are  exceedingly  rare,  and  •nive 
Ix'cii  wrillcn  owl  :  tlicy  cinhfacc  sucli  forms  as  qu,  or  r/  for  qur. 
lira  \'ov  iiiKsIro:  jxiIiikiI"  for  pal iiidturid.  and  the  like.     In  sliort, 
I  liave  tried  to  present  a  careful  edition  of  Lope's  text  which 
will  give  a  faithful  idea  of  his  manuscript  and  manner  of  com- 
posing, and  yet  not  frighten  ofif  anyone  about  to  begin  a  study 
of  this  great  dramatist.    Only  two  other  methods  of  reproduction 
remained  :  eitlier  a  complete  modernization  of  tlie  spelling,  wliieh 
would  spoil  my  main  purpose — to  present  an  edition  of  one  of 
Lope's   autographs;    or   a    photographic   reprint,    which   would 
reach  only  a  few  interested  ones.    In  the  latter  case  the  study  of 
Lope's  art  might  not  be  furthered  as  I  am  anxious  it  should  be. 
There  exists  also  in  the   Biblioteca   Nacional   a   manuscript 
copy  of  the  Dama  hoha  in  a  hand  of  the  first  third  of  the  seven- 
teenth century ;  it  has  many  characteristics  of  the  first  printed 
editions,  and  my  judgment,  set  down  several  years  ago,  was  that 
it  is  an  unimportant  copy  of  a   stage  version,  but  nearer  the 
autograph  than  the  known  versions.     This  is  borne  out  by  the 
fact  that  it  is  apparently  a  copy  made  by  Luis  Ramirez  de  Are- 
llano who,  according  to  both  Cristobal  Suarez  de  Figueroa  and 
Vicente  Espinel,  had  the  reputation  of  being  able  to  reproduce 
a  play  which  he  had  heard  but  three  times  in  the  theatre ;  among 
the  plays  he  is  reported  to  have  thus  reproduced  was  the  Dama 
hoha.     Compare  Rennert :    The  Spanish  Stage,  p.  176.     Such  a 
copy  is  scarcely  calculated  to  throw  light  on  an  autograph  manu- 
script, even  if  we  needed  it,  which  is  fortunately  not  the  case. 
It,  therefore,  seemed  more  profitable  to  show  the  relation  between 
the  two  versions  directly  connected  Avith  Lope's  name,  that  is, 
the  first  printed  form  which  he  signed  for  press,  and  the  auto- 
graph, tlian   the   variants  of  a  manuscript   of  less  importance 
than  either  of  these. 

Printed  copies,  in  general,  scarcely  do  more  than  a  very  poor 
reproduction  of  a  great  painting  might  do,  that  is,  they  may 
serve,  if  the  original  is  lost,  to  give  an  idea  of  the  author's  crea- 
tion. But  since  we  have  the  original  in  this  ease,  the  copies 
seem  pale  and  unsatisfactory  withal.     Indeed,  the  only  lesson. 


INTEODVCTION 


and  that  a  pathetic  one,  which  a  careful  comparison  of  tlie  orig- 
inal with  the  printed  versions  teaches,  is  that  our  loss  in  the 
disappearance  of  the  autographs  of  Spanish  writers,  such  as 
Lope,  Cervantes,  and  others,  is  beyond  the  power  of  any  words 
to  express. 

The  relation  between  autograph  and  printed  versions. 
a. 


a.  Ai;tograph  MS.   (Osiina  Library, 
1613). 

c.  The    Ramirez    MS    (cf.    above). 

d.  Printer's      copy       (signed      by 

Lope) ;  generally  destroyed 
or  lost,  and  presumably  so  in 
this  case. 


b.  Acting  versions  or  prompter's 
copies;  in  the  case  of  a  large 
number  of  plays  these  copies 
Avere  preserved  and  exist  in 
the  Biblioteca  Municipal  of 
Madrid.  I  have  seen  none  of 
la  Davia  hoha. 


\^g.  Madrid,  suelta  of  18th  century,  entitled 
la  Boha  discreta] 


t 


h.  Bihliotcca  de  autores  espailoles,  vol.  1  of 
Lope's  works  (with  slight  arbitrary 
changes ) . 


I.  Teatro   Selceto:    I    (segunda    parte) 


128  LA    n.lM.i   BOB. I 

The  editions  kudwii  lo  iiic  may,  tlici-cfore,  be*  considered  in  the 
following  Older : 

I.  Do/.o  coim-ilias  de  Lope  de  Vega  sacadas  de  sus  originales  jior  ol 
iiiisnio.  Dirigidas  al.  .  .  .  Duque  de  Sessa.  .  .  .  Noveua  parte, 
Ano  1617.  Cou  privilegio.  Eu  Madrid.  (Cf.  La  Barrera,  Nueva 
bioprafia,  op.  cit.,  p.  283). 

/.  The  same  volume  reprinted  at  Barcelona,  1(5 IS.  It  improves  some 
typographical  errors,  changes  the  punctuation  liere  and  there 
together  with  half  a  dozen  single  words. 

g.  A  Madrid  siielta  of  the  eighteenth  century  witli  the  title  la  Bobn 
discreta,  based   on  the  prijited   versions. 

h,  Hartzenbusch's  edition  of  Lope's  Comedias,  in  Biblioteca  de  autores 
espanoles,  I,  297-316.  As  this  version  is  accessible  to  all,  its 
imperfections  can  be  studied  by  the  reader  without  any  com- 
ment.   Reprinted  from  e  or  f. 

i.  A  reprint  by  Francisco  Jose  Orellana  in  his  teatro  sdecto  antiguo  y 
modcnio  nacional  y  extranjero.  .  .  .  (Barcelona,  1866-68),  8  vols, 
(pt.  I  in  2  vols.);  cf.  I,  vol.  2,  pp.  759-786.  Reprinted  from 
Hartzeubusch  with  very  little  change. 

The  play  entitled  la  Boha  discreta  by  Caiiizares  has  nothing 
in  common  with  our  play.  A  very  unsatisfactory  translation  of 
the  play  into  French  under  the  title:  La  petite  Niaise  can  be 
found  in  the  following  volume:  Les  Chefs-  d'oeuvre  du  Theatre 
Espagnol  ancien  et  moderne ;  traduction  de  Clement  Bochel,  vol.  I 
(Paris,  1900),  p.  5ff. 


INTEODVCTION  129 


VARIANTS  OF  THE  FIRST  EDITION  OF  MADRID,  1G17 

The  edition  of  Barcelona,  1618,  reprinted  this  version  with 
very  few  discrepancies,  emending  some  typographical  errors  and 
pnnctuation.  The  differences  worthy  of  note  are  marked  (B). 
The  disagreements  between  the  autograph  manuscript  and  the 
first  edition,  1617,  as  listed  below,  clearly  prove  that  Lope  sent 
to  the  press  a  very  defective  acting  version.  The  changes  and 
cuts  wliich  w^ere  made  are  of  an  arbitrary  cliaracter  having,  no 
doubt,  been  hastily  adopted  either  during  rehearsal,  or  while  the 
play  was  being  acted.  As  it  is  humanly  impossible  to  note  every 
insignificant  variant,  I  have  tried  to  limit  myself  to  such  as  may 
have  some  importance.  All  differences  in  spelling  have  been 
noted  but  are  not  given  to  avoid  useless  repetition ;  they  can 
be  illustrated  by  the  following  examples :  inuencion,  inuenzion ; 
nacen,  nazen ;  piezas,  pieeas ;  licencia,  licenoia ;  igual,  ygual ; 
ygnorancias,  inorancias ;  prouisiones,  probissiones  ;  oficios,  offizios ; 
cosa,  cossa ;  f e,  fee ;  enriquece,  enrriqueze ;  traes,  trahes ;  creer, 
creher ;  nombre,  nonbre,  nobre ;  entranbas,  entrabas ;  tejado, 
texado;  jamas,  xamas;  deben,  deuen;  habra,  aura;  Octauio, 
Otabio.  Words  which  may  indicate  a  popular  pronunciation 
have  been  added.  Examples  are :  discipulo,  dicipulo ;  objec- 
cion,  objecion ;  darle,  dalle.  I  must  emphasize  again,  that  w^here 
we  possess  the  autograph,  these  differences  in  spelling  of  the 
first  edition  have  no  scientific  value.  Misprints  such  as  numeto 
for  numero,  fingas  for  fin j as,  and  the  like  have  been  omitted. 
The  numbers  indicate  the  verses  of  the  manuscript  version. 


130 


LA    DAM  A    no HA 


Conicdia  faiiiosa  dc  la  Dama  boba  de  Lope  do  Vega  Car|)io. 
Hablan  en  ella  las  jx-i-sonas  sijjuiente.s: 


Laureneio 

Duanlo 

Fen  i  so 

Liseo 

^lisono 

Oetauio 

Lope 

Turin 


IV.lro 

Vn  estudiante 

Finea 

Nise 

Celia 

Clara 

Vn  maestro  de  dan(;ar 

Otro  (le  escriiiir 


Salen  Liseo,  y  Tuiin 
criado  (s)   (B)  de  camino 


120.     y   vn   roble 

124.     de  discurso  v  ile  razon 


1. 

buenas  posadas 

125-: 

128.  omitted 

10. 

Corte,  de  Castilla 

129. 

eontar 

11. 

de  Andaluzia,  y  Seuilla 

130. 

casaua 

13. 

vnos  de  los  otros  cuentan 

140. 

haze 

(B) 

150. 

boba 

15. 

0  cargos 

154. 

dotes 

17. 

cosas  .  .  .  alimenta   (B) 

155. 

era 

19. 

Turin  continues:    de  ima- 

158. 

le 

genes  eon  la  fe 

169. 

puedes  dexallo 

20. 

adquiridas 

(171) 

Vase  el  Estudiante 

22. 

aquesta   oeasion 

172. 

omits  iQue  haremos? 

23. 

las  tiene  la  deuoeion 

Ponte  Turin  a  cauallo 

24. 

de  Espafia 

174. 

Ten  pacieneia — hecho 

26. 

esperar 

176. 

propria 

27. 

a  que  guise  (B) 

185-: 

272.  omitted 

30. 

quanto 

(273) 

Vanse,  y  salen  Nise,  dama. 

.  31. 

antes  instead  of  luzir 

y  Celia,  criada 

33. 

va 

278. 

tiene 

40. 

ia  (B) 

279. 

las 

52. 

muy    hobre 

282. 

Es  que  ay  poesia 

54. 

y  desposado 

284. 

canseme                              ^ 

58. 

transparentes 

288. 

todo  se  dexa   entender 

61. 

essa 

294. 

e  historial 

64. 

acucar  .  .  .  galea 

296. 

muestra 

66. 

eon  tres  puntos 

297. 

por 

73. 

tambien 

299. 

oeulta 

75. 

Oygo  dezir  que  es  liermosa 

300. 

y  obseura.  aun  en  ingenios 

78. 

nada   se 

raros    (B) 

80. 

mas   estima 

303. 

obscuras 

81- 

84.  omitted 

305. 

objeeion 

(89) 

Sale  vn  estudiante  de 

(307) 

Salen  un  maestro   de  leer, 

camino 

y  Finea 

91. 

Y  omitted 

308. 

esta 

INTEODUCTION 


131 


316. 

Assi.  ya,  ya,  ya,  ya 

460. 

tirar 

319. 

K 

464. 

todos  sus  deudos 

325. 

Letras  sou  estas  tambieu 

465. 

Lamieol,  Aramizaldo 

328. 

le  dire 

466. 

Miscito 

329. 

Esta?     no  se 

467. 

Tumbahollin,  con  piel  de 

331. 

Y  estotra?     Fin.    Aquolla 

(;orra 

redoda  letra  1 

469. 

bianco 

333. 

Assi,  si,  si 

470. 

y  otros  de  negro  vestidos 

336. 

Esta  es  r 

471. 

y  otros  con  ropas  de  martas 

343. 

omits  Ya  niiro;  reads:    Di 

472. 

(japatillos 

aqui,  be,  e,  n,  ben 

484. 

correr  canas 

346. 

dize 

485. 

ves 

347. 

precedes  346 

(493) 

Vanse  Finea,  y  Clara 

350. 

omits  saca  vna  pabnatoria 

499. 

esso 

(351) 

Dale  una  palmeta  y  ella 

(500) 

Salen  Laurencio.  Duardo,  y 

echa  a  correr  tras  el 

Feniso,  galancs 

353. 

0,  perro,  aquesta 

503. 

given  to  Duardo 

355. 

Celia.     Ella  le  mata.  Ma. 

504. 

given  to  Feniso  and 

Ya 

Laurencio 

357. 

omits  jAy,  que  me  mata! 

505. 

given  to  Feniso 

357. 

Nise.  |A  tu  maestro?  |  Que 

506-i 

307.  transposed 

es  esto? 

518. 

elecion 

358. 

Ma.  Tenganla   ay. 

522. 

a  Duardo 

360. 

Dilo 

535. 

imbidia 

362. 

K 

538. 

contradicion 

368. 

gentil 

544. 

es  pintar  al  que  ya  llega 

369. 

Y  luego  que  la  tomo 

546. 

la  luz 

370. 

toma,  y  cas  la  ma  no 

550. 

e  intencion 

assienta 

551. 

Feniso  instead  of 

372. 

abraso 

Laurencio 

373. 

discipulo  ignora 

552. 

muchos  se;  given  to 

378. 

dalle 

Laurencio 

(379) 

Vase  el  maestro 

556. 

bien   os 

384. 

dizen  ban 

562. 

con   quietud 

398. 

Sale  Clara  criada  de  Finea 

566. 

claro 

405. 

omits  pues — Que  ya  pario 

568. 

y   luego 

407. 

iQuando  Clara? 

579. 

Du.  Escriue  facil  Platon 

425- 

428.  omitted 

582. 

qual  estas;  esta   (B) 

441. 

hablan 

586. 

obscuras 

443. 

girigonqa   entre  ellos   (B) 

588. 

es  a  todos  agradable 

444. 

ni  es  espaiiol 

(589) 

omits  Nise  apart e 

445. 

viuda 

593. 

contigo  a  quien 

446- 

448.  larga,  y  compuesta  ile 

594. 

assi 

ozico,  sospecho  que  era  su 

605. 

la  que 

abuela,  de  negro,  y  bianco 

(610) 

Haze  Nise  como  que  cae 

vestido 

610. 

Du.    Que  es  esto 

449- 

452.  omitted 

(618) 

Vanse  Nise  y  Celia 

L.i    DAM. I    liOIi.l 


G19. 

givoii   to  P"'oiiiso 

845. 

Cla:   Tu  padre 

020. 

Nise 

846. 

A  DJos,  acordaos 

fiLM. 

Au..ys   (B) 

(847) 

Vase  Laurenzio 

<il*7. 

Diiar..  629  Fen. 

(850) 

Vase  Pedro 

(6;?o) 

A'aiise  Duardo,  y  Feiiito, 

857. 

Hame  querido  casar 

queda  Laurenzio 

859. 

Toledano  o  Seuillano 

645. 

tarda  en 

860. 

tres 

(649) 

Sale   Pedro,    sii    eriado    dc 

862. 

de  la  caxa 

Lanrencio 

86.3. 

repolido 

655. 

diuertir  mi   luouiiniento 

866. 

este  .  .  .  fuese 

657. 

nunoa;  omits  que 

871. 

pero  dime,  amiga  Clara 

658. 

que  en  iin  lugar 

872. 

polido 

659. 

firme  suele  siempre  estar 

874. 

de  la  ropilla 

662. 

y  tal  en  las  doze  esta 

877. 

Digo   que 

665. 

deste  puesto  en 

878. 

A^eamos,    tienesle    ay? 

670. 

Por(|ue  la 

(879) 

Saea  Finea  un  retrato  en 

674. 

sen a  la    a 

un  naype  de  la  manga 

681. 

a 

886. 

pierna   y 

684. 

])reciosa   (B) 

888. 

que  el  Pedro 

693-' 

700.  omitted 

(889) 

Salen  Octauio   viejo,  y 

706. 

la  empresa 

Nise  su  hija 

707. 

prouar  tu  osadia 

901. 

que  estaua  alii 

709. 

•^Y  es? 

(903) 

Sale  Celia 

710. 

necia 

904. 

una  posta 

711. 

ha 

905. 

Mira  hija  que  has  de  estar 

722. 

neeio 

(908) 

Salen  Liseo,  y  Turin  de 

725. 

que  con  oro  no  se 

camino 

729. 

Yo  tengo  de  enamorar 

908. 

licion  (?)   (B)  the  copy 

(741) 

Omits  fSalgan]   Finea  y 

before  me  is  blurred 

Clara 

912. 

qual  de  las  dos  es  mi  es- 

742. 

Harelo  si  esta 

posa? 

(745) 

Salen  Finea  y  Clara 

913. 

ya  no  me  ve 

745. 

Buena 

915. 

la 

75.3. 

Y  si  agora  que  salis 

918. 

Esta 

759. 

famosas 

921. 

abra^a  a  vuestra 

763. 

tengan 

923. 

hablo  de 

768. 

limpio  y  sano 

928. 

discreta  soys 

784. 

que  en  mi  vida  no  he  que- 

929. 

grande 

rido 

930. 

B  omits  a 

788. 

Esperad 

932. 

bobo 

794. 

a  redro  vaya 

939. 

pudieras  auer 

797-804.  omitted 

942. 

Oct.  Aunque  honesta   .  .  . 

806. 

cuerpo 

044. 

truxiste 

807. 

passa  el  que 

951. 

ealor  teneys 

816. 

dexar 

956. 

y  como  venis 

817-820.  omitted 

958. 

esta 

829. 

_querer  assi 

959. 

Ni.    Calla  hermana. 

INTEODUCTION 


133 


960. 

especie,  es  linda  eosa 

1001. 

Quando 

(961) 

Sale  Celia  con  una  caxa,  y 

1012. 

y  con  tal  censo  se  cobra 

agua 

1017. 

esse.  .  .  .  pues  vemos 

961. 

Cel.  Aqui  esta  el  agua 

1018. 

experiencia  notoria 

corned. 

1021. 

Es  verdad 

962. 

El  agua  sola  prouooa 

1030. 

las  palabras  se  rompan 

964. 

omits  direction  Beba 

1031. 

rompanse  letras 

969. 

Aguardad 

1032. 

cobra 

970. 

tu  te 

1035. 

dizen  que  vn  hombre  eno- 

971. 

lleuado 

jado 

973. 

Ay  padre  mas  desdiehado 

1037. 

si  le  pouen 

978. 

J?:ntrad  adentro  vosotras 

1038- 

1039.  transposed 

979. 

a  prevenirle  la  cama 

1038. 

en  el  su  imagen 

980. 

La  mia  pienso 

1039. 

que  represente  su  sombra 

981. 

Octab:    Tu  no  ves 

1040. 

Templa 

982. 

que  aun  no  estan  hechas 

1043. 

cristal  del 

983. 

entra  adentro.    Fin.    Que 

1044. 

libertad  pregona 

me  plaze 

1045. 

tu  yra, 

984. 

Ni.   Vamos  hermana.   Fin. 

1046. 

Es  verdad 

A  Dios,  ola. 

1051. 

trocar 

(98.5) 

Yanse  Nise,  y  Finea 

1053- 

1056.  omitted 

(991) 

Vase  Octauio,  y  quedan 

1060. 

horas 

Liseo,  y  Turin 

1061. 

distintas 

991. 

el  cielo  .  .  .  Lis:    no  se 

(1063) 

omits:    Fin  del  primero 

993. 

mis  desdiclias:    ay  Turin 

acto  de  la  Dama  boba. 

996. 

mas  espantosa 

AcTO  Segundo  de  La  Dama  Boba 
Omits:    Personas  del  Segundo  Acto 


(1063) 

Salen  Laurencio,   Duardo, 

1161. 

y  Feniso. 

1167. 

1063. 

se  ha 

1168. 

1065. 

vence 

1169. 

1092. 

del  admirarse 

1170. 

1094. 

pueda 

1171. 

1095. 

Todo  es 

1172. 

1099- 

1122.  omitted 

1173. 

1123. 

ya  que  a  Finea 

1175. 

1125. 

ie 

1176. 

1128. 

tendra 

1178. 

1133. 

saben  amar 

1179. 

1135- 

6.  Order:    Lau.     Fen. 

Du. 

1181. 

1143. 

para  hazer  tales  agrauios 

1184. 

1144. 

y  desprecios. 

1187. 

1147. 

Fen.  and  Du.  speak 

1188. 

(1149) 

Salen  Nise,  y  Celia. 

1189. 

1160. 

Fue  Sol  que  las  alumb 

ro 

1190. 

mientras  ella  se  eclipso 

verde  velo  subtil 

la  alegre  ribera 

placentera 

cantando  los  Buyseiiores 

y  van  creciendo  las  flores 

mostrando 

vuestra  salud  y  sembrando 

rian  (B) 

dieron 

vuestros  eristales 

aguas 

para  poder  celebraros 

con  que  procura  alegraros 

almas 

las  que 

efetos  hareys 

omitted 


LA    DAM  A    BOB  A 


11J>I. 

iiisortcd:     visto  .-on   taiita 

(1365) 

Vase  Laurencio,  y  sale  uu 

alojTiia 

maestro  de  dancar,  dan- 

1193. 

luz  destos  ojos 

do   licion   a   Finea:     em- 

1195. 

enferino  llegue 

pie^a  el  a  dancar,  y  ella 

1201. 

mouiniientos 

se  queda 

1207. 

viuiinos 

1367. 

omits  no 

1208. 

con  la  quo  mostrays  aqui 

1379. 

ya  saiga 

1210. 

ya  que 

1382. 

Traed 

1223. 

Desse 

1386. 

a  cascabclcs  confiesso 

(1231) 

Vaiiso   Duanlo  y    Ft'iiiso 

1394. 

omits  me 

1236. 

falso 

1405. 

mas  yo  no 

1243. 

mi  nuierte  creiste 

1406. 

no  ontreys  mas  aqui 

1245. 

con  gentil  atreuimiento 

1407. 

no 

1249. 

pobre  y  ella  rica 

1408. 

baylar 

1250. 

tu  discrete,  ella 

1415. 

Tened,  sefiora 

1261- 

1265.  omitted 

1417. 

aspereza 

1272. 

es  su  creeiente,  y  men- 

1420. 

mansedumbre 

guanto 

(1427) 

Vase  el  Maestro,  y  sale 

After    1276.     inserted:    ay 

Clara 

Laureneia,  que  buen  pago 

1428. 

persigueme. 

de   fe,  y   amor   tan   con- 

1444. 

Por  esso  vengo 

stante?    Yo   enferme   de 

1445. 

por  essa 

mis  tristezas,  que  son  bien 

1448. 

diferencia 

terribles   males,   por   re- 

1449. 

Costilla 

galos  tuyos  tuue  enganos. 

1453. 

assi  para 

mentiras,  fraudes.    Pero 

1454. 

y  aun  mas,  mny  bien 

pues  tan  duros  fueron  di, 

1465. 

Puse  en  la  estopa 

que  me  diste  diamantes. 

1475. 

me  ves 

1277. 

lo  has  visto 

1478. 

ringlones 

1281. 

dicho  requiebros 

1479. 

donde 

1282. 

a  Finea.   omits  me 

1481. 

Clara  continues:   mas  bien 

1290. 

mas  que  te 

se  podra  leer 

1293. 

yo  a  la  boba 

1483. 

Libre  Dios 

1294. 

la 

(1485) 

Sale  Octauio 

1295. 

De  que  te  quexas 

I486. 

omitted 

1296. 

necio 

1487. 

ni  el   leer,  ni  el   dancar 

1301-: 

1304.  omitted 

1491. 

Aquel 

1309-1325.  omitteil:    cf.    above: 

1495. 

buelue  luego 

after  1276 

1499. 

todos  hombres 

1321. 

Aora  dexanie,  Laurencio. 

1500. 

no  digays 

(1326) 

Sale  Liseo  solo. 

1501. 

diga  (s) 

1335. 

ruegala 

1503. 

Pues  tome  por  su  vida 

(1339) 

Vanse  Nise,  y  Celia. 

(1505) 

Carta.     Estoy  muy   agra- 

1340. 

Espantome 

decido  a  la  merced  que 

1341. 

essos  rigores 

me  hazes  aunque  he  pas- 

1352. 

eon  las  lenguas 

sado     toda     esta     noche 

(1355) 

Vase  Liseo 

contemplando  tu  hermo- 

1357. 

simple  sin  duda 

sura.     Easguele 

INTFODUCTION 


135 


150... 

Xo  (lize  mas?     Oct.  Xo 

1640. 

Pues  yo  OS  prometo  de 

tlize,  y  justaineiite 

1642. 

por  bien 

1506. 

lo   que   falta  rompi 

1644. 

y  no  como  fingidos 

1509. 

por  estremo 

(1648) 

Abraqanse,  y  salen  Octauio, 

1511. 

ser  hermosa 

y  Turin 

1512. 

el  galan,  el  liiido,  el   Olo- 

1648. 

Oct.     Turin  aquesta  dizes 

roso 

que  es  pendencia? 

1513. 

omitted 

1649. 

y  auran   disimulado.     Oct. 

1514. 

el  afeytado,  el  limpio,  y  el 

0  caualleros 

curioso 

1650. 

omitted 

1522. 

vendra  a  entender 

1651. 

solos  aqui 

1523. 

hija,  mirad 

1653. 

llegue 

1525. 

No  lo  hare  mas 

1654. 

salimonos  entrambos  mano 

1526. 

porqiie  .  .  .  bieii   el    li om- 

a mano 

bre 

1655. 

a  tratar  nuestras  cosas 

(1528) 

Sale  Turin. 

1658. 

holgare  de  que  os  boluays 

1529. 

Oct.     Que  ay  Turin?     Tur. 

1659. 

omitted 

Que    a    matarse    van    al 

1662. 

Porque  en  viendote  auran 

eampo 

disimulado 

1530. 

en  este  punto  mi 

(1678) 

Vanse,  y  salen  Nise,  y 

1531. 

vn  hidalgo 

Finea 

1536. 

de  esse  Laureueio 

1680. 

La  misnia  que 

1538. 

adonde  yran?     Tur.     Yran 

1693. 

el  me  dixo  aqui 

(1541) 

Vanse  Octauio,  y  Turin. 

1696. 

Desde  oy 

1548. 

sentir. 

1699. 

a  enojarte 

1549. 

.  Yo  no  se  lo  que  esto  ha  sido 

1704. 

No  creo 

1550. 

despues  que  el  homljre  me 

(1707) 

Yase  Nise 

vio 

1708. 

tan  desdichada 

1552. 

el  se  ha  lleuado 

(1710) 

Sale  Laurencio 

1553. 

Si  como,  iniagino  en  el, 

1725. 

me  ha  dieho  aqui 

1554. 

si  duermo,  le  estoy  so- 

1730. 

ya 

nando, 

1732. 

Tambien  ha  dieho 

1556. 

su  imagen 

(1743) 

Ponele  el  lien(jo  en  los  ojos. 

1558. 

buelve  un  espejo 

1743. 

omits  no 

1561. 

en   ella  miro 

1744. 

Pues  quita  luego  los  tuyos 

1565. 

trasfornias 

1748. 

Finea    continues :      Lleuas- 

1572. 

romper 

telos  en  el  lienqo? 

1579. 

presumo 

1749. 

Lau.:    Si,  senora,  no — 

(1581) 

Yanse,  y  salen  Laurencio, 

1751. 

omits  a 

y  Liseo. 

1757. 

No  me  ha  de  renir  por  esto 

1582. 

me  dezid  la  ocasion  que  a 

1759. 

sabras 

esto  OS  obliga? 

1761. 

entonces,  muy  bien  me 

1588. 

andays  del 

acuerdo 

1590. 

lo  diga 

1762. 

omits  y 

1592. 

su  dote 

1765. 

Pues  no 

1598. 

dezir 

(1765) 

Sale  Nise,  y  velos  abra- 

1600- 

1639.  omitted 

(^ados. 

LA  DAM  A  BOB  A 


1765. 

0  que  bien 

1907. 

Si,  Duardo.  Dua:  Y  Nise 

(1779) 

Vansc  Laurencio.  y  Nise  de 

bella? 

las  manos 

(1909) 

Vanse  Laurencio,  y  Duardo, 

1784. 

propria  voluntad 

queda  Finea,  salen  Octa- 

1786. 

mi  padre  viene 

uio,  y  Nise. 

(1788) 

Sale  Octauio 

1911. 

essas 

1793. 

yo  agora 

1919. 

Y  con  ser  negro 

1796. 

Ay  ignorancia  tal,  pues 

1920. 

era 

dime  bestia 

1921. 

Sessa 

1798. 

al  principio  fue  hecho 

1922. 

honra 

aquel  abraqo  . 

1923. 

Vino  a  casarse 

1799. 

alto  el  bra^o  derecho  de 

1927. 

llama  al 

Laurencio 

1932. 

rinirme.     (B)   Nise: 

1802. 

luego  desabra^ada  quedo 

Quien  .  .  . 

agora 

1934. 

sabed 

180.3. 

piensa 

1942. 

y  ya  estoy 

1806. 

se  llama 

1944. 

que  tanta  pena  me   dauan 

1809. 

Si',  tu  no  ves 

1948. 

tu  no  ves  que  estas  casada 

1812. 

del  que 

1949. 

omits  me 

1813. 

tomando  ya,  por  cierto 

1950. 

Oct.    Locura  estrana 

ereo 

1951. 

No  entre  aqui  Laurencio. 

1818- 

1819.  omitted 

Ni:  Es  yerro 

1820. 

donde  tu  hermana  esta? 

1952. 

que  el,  y  Liseo  la  engaiian 

(1825) 

Vase  Octauio 

1953. 

y  aquesta  tra^a  ban  tomado 

1828. 

omits  me 

1955. 

0,  pues  con  esso  yo  callo 

(1831) 

Sale  Laurencio 

1956. 

con  essa  nos  tapas 

1834. 

escusase 

1957. 

Ven  alia  dentro 

1838. 

Porque  te  fuyste 

1958- 

1959.  omitted 

1841-: 

1844.  omitted 

(1961) 

Vanse  Octauio,  y  Finea. 

1846. 

(B)  omits  lo 

1963. 

el,  y  Liseo,  por  ver 

1847. 

dino  nombre 

1964. 

aquesta 

1851. 

y  assi  podre 

(1966) 

Sale  Liseo  solo 

1856. 

Otro  mejor  puede  auer. 

1974. 

rudeza 

(1859) 

Salen    Duardo,    Feniso,    y 

1975. 

ingenio 

Pedro. 

1977. 

darte 

1860. 

Dua.  y  el.  .  .  . 

1979. 

mi  amor,  Nise,  no  mentiras 

1873. 

Yo  voy  aqui  con  mi  ingenio 

1980- 

1983.     omitted 

1878. 

casarte 

1984. 

Liseo      continues:       escu- 

1883- 

1888.     omitted 

chame.     Ni.     Que  incon- 

1895. 

Duardo,  Feniso,  Pedro 

stancia 

1896. 

Finea   continues:    yo   doy 

1988. 

Desta 

aqui  la  palabra 

(1991) 

Sale  Laurenzio 

1898. 

Fen:    cosa,  etc. 

1991. 

esta  con  Liseo 

1899. 

Todos.     Si 

1993. 

de  entender  sin  duda 

1900. 

Haz  cuenta  que  ya  estas 

1995. 

sospecho   que  ya   me   ha 

sana 

visto 

1906. 

Dua:    Pues  .  .  .  casas 

(1997) 

omits  stage  direction 

INTRODUCTION 


137 


1998. 
1999. 
2008. 
2011. 
2013. 
(2013) 


Hanme  dicho  que 
.  .  .  yo  uo  lo  creo 
que   de   manera   nu 
destos   fauores 
No  puedo  menos 
Vase  Nise 


2019-2022.  omitted 

2023.     Liseo  aquesta  es  discreta 

2032.     Es  la  mayor  alabanqa 

Omits: 

Fin  del  segundo  acto  de 

la  Dama  boba. 


Acto  Tercero  de  la  Dama  Boba 
Omits:  Los  que  hablan  en  el  tercero  acto 


Sale  Finea  sola  con  otro  vestido. 
(Directions  like  this  indicate  that 

we  are  dealing  with  stage  copy.) 

2036.     acidente,   o   elecion 

2051.     omits  en 

2058.     En   el  lugar  en   que  estoy 

2062.     estoy 

2063-2072.  omitted 
(2073)    Sale  Clara 

2077-2080.  omitted 

2081.  Atribuyen 
(2091)    Salen   Octauio,   y   Miseno 

2109.     la 

2121.     Zamoes;   Zamores    (B) 

(2125-2128)    and    (2129-2132) 

transposed 

2130.  Y  de  Herrera 

2131.  cancioues,   el  Peregrino 

2132.  el  picaro  de  Guzman 
(2149)     Salen  Nise,  Liseo,  y  Turin 

2154.     que  ya  Finea 

2157-2168.  omitted 

2175-2184.  replaced  by:  Nis. 
Poner  freno  a  la  muger 
es  poner  limite  al  mar. 
Estranas  quimeras  son; 
que  amor  como  es  aci- 
dente tienese  donde  se 
siente,  no  donde  fuera 
razon 

2187.  falta 

2188.  en   la 

2189.  hizo 

2192.     curso  natural 
(2201)    Sale  un  criado 
2206.     Liseo 


(2213) 

Sale  un  criado,  y  los 

musicos 

2213. 

ya  los  musicos  veniau 

(2221) 

Cantan  los  musicos,  y  bay- 

Ian  Nise,  y  Finea  lo  que 

quisieren;      this      direc- 

tion  indicates   that   the 

printed   copy  was   inde- 

pendent    of    the     auto- 

graph. 

2221-: 

2318.  omitted 

2320. 

a  Dios 

2321. 

este  -agrauio 

2322. 

Tratemos  nuestro  coneierto 

2324. 

Yo  OS  tengo 

2325. 

omits  OS 

2326. 

mis  dichas 

(2327) 

Vanse  todos,  quedan  Liseo, 

y  Turin 

2327. 

Turin?     Tur.     Seiior,  que 

2338. 

essa  discrecion 

2339-2342.  omitted 

2343. 

y  no  ha 

2347. 

discreta 

(2356) 

Vase  Liseo 

(2365) 

Salen  Laurencio,  y  Pedro 

2366. 

el  fin 

2382. 

El   no    OS   pretende   agra- 

uiar 

2384. 

cumplirse? 

2387. 

omits  el 

(2394) 

Vase  Turin 

2395. 

Lo  mismo  que  presumi 

2398. 

se  viene  a  mostrar  aqui 

2400. 

discreta,  la  voluntad 

2401. 

habilidad 

/.J    DA  MA  BOB  A 


(2405)    Sale  Finea 
2406.     nuoua 
241."?.     en  mi  nioinoria 
2416.     cubierto 
2420.     y  si  a  otra  parte 

2425.  tu 

2426.  y  tu  imagen  bella  mira 
2434.     consejos 

2442.     traerle   al   ouello 

2443-2446.     omitted 

2455.     Mira  lo  que  ha  resultado 

2459.     Liseo  te  quiere  bien, 

2461.     plegue 

2465.     partes 

2469-2470.  omitted 

2489.  la  tierra  donde  naeen 

2490.  andarla 

2494.     ya — ya  con   zelos 
2498.     Ya  estoy  atento 
2505.     a  su  regalo 

2510.  a  sus  desseos 

2511.  esso  si  pensaron 

2512.  hijo  varon,  y 
2516.     senora 

2519.  Aqui  me  quiero 

2520.  Ya  llega 

2521.  En  grandes 

2522.  aun  no  lo  siento 

(2523)  Eseondense  Laureneio,  y 
Pedro,  salen  Liseo,  y 
Turin. 

2523.  Yo  lo  dexo  eoneertado 

2524.  Al  fin 
2528.     ha  querido 
2533.     me  ha  dicho 

2541.  luna  nueua 

2542.  Ay  tal  loeura?     Tur. 
2.543.     given  to  Liseo 
2544-2547.  omitted 

2548.     Creo 

2560.     given  to  Turin 

2561-2568.  omitted 

2582.  le  vemos 

2583.  con  alas  pero  el  en  fin 

2584.  es   espiritu.     Fin.     Yo   os 

creo 

2585.  Andan 


2590.     Porque 
2610-12.  given  to  Liseo 
(2613)    Yanse     Liseo,     y     Turin, 
salen    Laureneio;    y   Pe- 
dro. 

2613.  Fin.    Queteparece?  Lau. 

Muy  bien 

2614.  que  has  dado 
2617.     omits  a 
2622.     a  un  espejo 
2629.     despicarme 

(2630)    Salen  Nise  y  Celia 
2633.     engaiias 
2638.     el  alma 
2651-2654.  omitted 
2655.     Fin.     Ay  cielos 

2657.  vo^vme.      Nis.      Los   pasos 

reporta 

2658.  Lau.     Que    (juieres? 
2660.     las  que  trato  son 
2663.     Querraste   casar   ansi 
2664-2667.  omitted 

2668.  leuantando 

2669.  y  de  aqueste 

2670.  heeharme  la  culpa  a  mi 
2672.     omits  a  mi.    Que  bien 

(2672)    A^ase  Laureneio 
(2676)    Yase  Pedro 

2677.     aquello 

2683.     buena 

2691-2694.  omitted 

2700.     Cel.   Queesesto?    Ni.    A 
tocta  se  buelue 

2707.  quieres 

2708.  con   quien   el  alma   viuia 
(2719)    Salen      Oetauio,      Miseno, 

Duardo,  y  Feniso 
2723.     No  me  direys  la  ocasion 
2725.     del  saber 
2730.     pienso  que  tu  la 
2731-2734.     omitted 
2739.     expresamente 
2744.     Como?  .  .  .  ha  tracado 

2747.  mas  facil 

2748.  En  paz  tu  casa  tendras 
(2749)    Salen  Laureneio,  y  Pedro 

2749.  en  estremo 


INTBODVCTION 


139 


2757. 

iliscreta 

2758. 

inclinaua 

2760. 

a  la  muger 

2766. 

ya  son  poci 

2767. 

podeys 

2772. 

tales 

2775. 

de  estar 

2776. 

esse 

2777.  y  es 

2778.  deys  mi  muger 
2779-2782.     omitted 

2784.  Lau.    Finea.    Oct.    Finea? 
Laii.  Aqui 

2789.  given  to  Duardo 

2790.  darsela 

2791.  Oct.     Ay  tal  cosa  ? 

2792.  dixera? 

2793.  la  diera 
(2801)  Vase  Octauio 

2801.  tras  mi 

(2803)  Vanse  Nise,  y  Celia 

2803.  Yd  los  dos  tras  el  por  Dies 

(2809)  Vanse  Duardo,  y  Feniso, 
y  quedan  Laurencio,  y 
Finea. 

2811.  Dime,  que  auemos  de  liazer 

2815.  Yo  tengo  un 

(2817)  Sale  Clara 

2819.  por  secreto 

2821.  Y  Pedro? 

2826.  consuelo  me  de 

2827.  Otra  cenara 

2828.  vamos 

(2829)  Vanse  Clara,  Pedro,  y  Lau- 
rencio, queda  Finea. 

2830.  aqueste  mi  loco  amor 

(2837)  Sale  Octauio 

2839.  estas 

2845.  Boluera  ? 

2848.  milagro 

2849.  perdiste 

2850.  como  a  ser  boba  boluiste? 
2855.  Pues  yo  lo  he  de 

2859.  Adonde? 

(2867)  Salen  Liseo,  y  Turiu 

2871.  Oct.  Tente  loca,  donde  vas? 
2874-2875.     omitted 


2877.     que  no  me  ha  de  ver  jamas 
(2879)    Vanse  Finea,  y  Clara 
2879-2884.     Reads: 

Li.  Que  es  esto?  Oct.  No 
se  por  Dios;  ella  ha  dado 
en  esconderse  de  los  hom- 
bres,  porque  dize  que  la 
enganan  facilmente. 
Li.  En  gentil  locura  ha 
dado:  donde  esta  Lau- 
rencio? 

2885.  A  Toledo.     Lis.  Muy  bien 

hizo. 

2886.  Y  tu  por  ventura  crees 
2889.     Ay  de  que  tu  entres  aqui 
2890-2891.     omitted 

2902.     escudos 
2904.     es  tuerta? 

2914.  quiero  que 

2915.  desta  casa 
(2918)    Vase  Octauio 

2918.     Que  me  dizes? 
2923.     Sino  te  casas,  sefior 

2928.  ease 

2929.  dinero 

(2931)     Vanse,    y    salen    Finea,    y 

Clara 
2937.     cosa 
2939-2962.     omitted 
2967-2974.     omitted 
2983-2986.     omitted 
(2989)    Salen      Octauio,      Miseno, 
Duardo,  y  Feniso. 

2989.  Que  esso  le  dixistes? 

2990.  furia 
2991-2994.     omitted 
2995.     resueltamente 

2997.  tratasse 

2998.  de 
3006.     tienesme 
3013.     oyd 
3016.     sino 

(3019)    Vanse  Finea  y  Clara 
3019-3026.     Reads: 

Duar.  Vuestra  desdicha  he 
sabido  y  siento  como  es 
razon. 


140 


LA  DAM  A  BOB  A 


Fen.  Y  yo  que  en  esta  oca- 

3112. 

given  to  Feniso 

sion  aya  perditio  el  seu- 

3113. 

Lis.    Siempre 

tido. 

3115. 

Duar.  De  esso  os  podreys 

Oct.  Que  ya  era  cuerda  en- 

(3118) 

Salen    Laurencio ,  con    la 

tendi   y   estaua  loco   de 

espada  desnuda,  y  Finea 

vella. 

a  sus  espaldas,  Peilro  y 

Mis.    Que    lastima.      Dua. 

Clara,  y  Octauio  detras 

Nise  boUa  con  Liseo  viene 

de  todos. 

aqui. 

3123. 

Dua.   Teneos,  Ocauio:     es 

(3027) 

Salen  Liseo,  Turin,  y  Nise. 

Laurencio? 

3027- 

3072.     cut  to  the  following: 

3127. 

Traydora 

Nise:  Es  doblar  la  volun- 

3136. 

soga 

tad  de  mi  afieion.     Lis. 

3143-; 

3146.     omitted 

Templa  agora,  bella  Nise, 

3155. 

Ya 

tus  desdenes,  que  se  va 

3156. 

omits  y;  Nise  tambien 

amor  por  la   posta  a  la 

3158. 

le  quiere  .  .  .  le  adora 

casa  del  agrauio. 

3159. 

given  to  Du. 

(3072) 

Sale  Celia 

3160. 

gozen  los  que  el 

3072-. 

3075.     omitted 

3166-: 

3169.     omitted;  inserted: 

3076. 

Cel.  Seiiora?    Nis.  que  ay? 

Tur.  Y  la  Clara  socarrona 

Cel.  una  cosa. 

que  lleuaua  los  gazapos? 

3077. 

causar  espanto 

Cla.  Mandomelo  mi  seiiora. 

3078. 

Di  lo  que  es 

Tur.     0  qual    los  engu- 

3081. 

dos  conejos 

llirian. 

3084. 

caminauan 

3173. 

Ni.  y  tuya  Celia 

3086. 

given  to  Turin 

3174-; 

3177.     omitted 

3087-; 

3090.     omitted 

3178. 

mi  bota  sera 

3093. 

eorri 

3179. 

solos  quedamos 

3104. 

given  to  Nise 

3180. 

dadme 

3107. 

Senor  tu  furia  los  dos 

3181. 

given  to  Fen. 

3108. 

lo  veremos 

3182. 

perdonan 

3109. 

injuriado 

(3110) 

Vase  Octauio 

Fin    de 

(   la   Comedia   de  la   Dama 

3110. 

given  to  Duardo 

Boba. 

INTBODUCTION 


LA  VEES1F1CACI6N 
ACTO  I. 

Eedondillas    verses  1  to  184 

Octavas  verses  185  to  272 

Redondillas    verses  273  to  412 

Romance  (en  i-o)  verses  413  to  492   -^ 

Redondillas    verses  493  to  524 

Soneto  verses  525  to  538 

Eedondillas    verses  539  to  634 

Soneto  verses  635  to  648  - 

Redondillas    verses  649  to  888 

Romance  (en  o-a)  verses  889  to  1062 

ACTO  IT. 

Redondillas    verses  1063  to  1154 

Quintillas  verses  1155  to  1214 

Redondillas    verses  1215  to  1230 

Romance  (en  a-e)  verses  1231  to  1364,,„_^_ 

Redondillas verses  1365  to  1484 

Endeeasilabos  sueltos  y  algunos  pareados  aconsonantados  

verses  1485  to  1540 

Redondillas    verses  1541  to  1580 

Pareados,  aconsonantados  y  versos  sueltos,  todos 

endeeasilabos  verses  1581  to  1667 

Redondillas    verses  1668  to  1787 

Pareados,  aconsonantados  y  versos  sueltos,  todos 

endeeasilabos  verses  1788  to  1824 

Redondillas    verses  1825  to  1860 

Romance   (en  a-a)   verses  1861  to  2032 

ACTO  III. 

Quintillas  verses  2033  to  2072 

Redondillas    verses  2073  to  2220 

Baile  y  cantar  con  estribillo* verses  2221  to  2318 

Redondillas    verses  2319  to  2426  - 

Romance   (en  e-o)   verses  2427  to  2634 

Redondillas    verses  2635  to  2870 

Romance   (en  e-e)   verses  2871  to  2930 

Redondillas    verses  2931  to  3026 

Romance   (en  o-a)   verses  3027  to  3184 


LA    DA  MA   BO  HA 


*  It  is  a  great  loss  to  the  history  of  Spanish  music  and  of  the  dance 
that  in  the  great  majority  of  cases  these  cantarcs  are  omitted  in  the  printed 
versions  of  the  comcdias.  Even  where  they  are  preserved,  they  are  so 
much  curtailed  that  we  get  no  clear  idea  of  their  complete  form.  Lope 
has  written  a  large  number  of  these  compositions,  and  yet  how  pitifully 
small  is  our  record  of  them!  The  following  scheme  may  be  of  assistance 
in  studying  their  structure.  This  one  manifestly  has  five  main  divisions 
separated  by  a  single  verse  with  refrain. 

I.   («)   20  verses  without  refrain,  the  even  ones  being  assonant  in  a-a; 
they  are  of  unequal  length,  from  five  to  eight  syllables.     This 
division  forms  a  kind  of  prelude  or  preface  without  refrain, 
and  may  well  have  been  sung  by  both  girls,  or  by  the  musi- 
cians, and  perhaps  without  dance  accompaniment. 
(&)   verso  suelto  con  estribillo  (2241-2). 
11.   (o)    14  verses,  the  odd  ones  of  eight  syllables  being  assonant  in  e-o; 
the  even  one  is  the  refrain  (estribillo).    If  this  dance  had  the 
character  of  a  mxidanza,  we  may  imagins  the  girls  dancing  or 
singing  in  turn,  and  this  division  may  have  been  sung  by  one 
of  them,  all  the  musicians  and  even  the  spectators  joining  in 
the  refrain. 
(ft)   verso  suelto  con  estribillo  (2257-8). 

III.  (a)   20  verses,  the  odd  ones  of  eight  syllables  being  assonant  in  a-o; 

the  even  verse  is  the  refrain;  danced  and  sung  presumably  by 
one  of  the  daughters,  the  rest  joining  in  the  refrain, 
(ft)   verso  suelto  eon  estribillo  (2279-80). 

IV.  (a)   12  verses  without  refrain,  the  even  ones  being  assonant  in  a-a, 

and   thus  corresponding  to  division   I;    presumably  again   sung 
by  both  girls, 
(ft)   verso  suelto  con  estribillo   (2293-4). 

V.  (fl)   22  verses,  the  odd  ones  of  eight  syllables  being  assonant  in  o-o; 

the  even  verse  is  the  refrain;  danced  and  sung  by  both  girls, 
the  rest  joining  in  the  refrain. 
(ft)   verso  suelto  con  estribillo  (2417-8). 

A  special  study  in  these  cantares  with  their  dances  would  Ite  of  the 
greatest  interest.  A  similar  composition  can  be  found  in  Velez  de  Guevara's 
In  Scrrana  de  la  Vera  (cf.  the  edition  of  Professor  Menendez  Pidal  and 
Seiiora  de  Menendez  Pidal  (Madrid,  1916),  p.  151)  and  in  the  same  poet's 
Sosa  de  Alexandria,  II,  fol.  189  v. 
Los  Labradores  cantan: 

Esta  nouia  se  lleua  la  flor, 
— que  las  otras  no — 

Copla.  ^ 

Lupino  y  Tierrena, 
para  en  vno  son — 
su  gala  y  belleza, 
para  en  vno  son — 
el  sol  y  la  estrella, 
para  en  vno  son — 
etc.,  etc. 
The  popular  character  of  these  songs  and  dances  is  so  pronounced  that 
they  have  a  special  charm,  even  after  this  great  lapse  of  time.     As  in  the 
case  of  Lope's  songs,  traditional  copla.i,  or  verses,  were  absorbed  by  them 
(cf.  for  example,  vs.  2313-2315). 


LA  DAM  A  BOB  A 


LA  DAMA  BOBA 

COMEDIA   DESTE  AXO  DE   1613 
PeRSOXAS  DESTE  ACTO 

Lisseo,  cauallcro  - Ortiz 

Turin,  lacaijo - Caruajal   ( ?)* 

Leandro,  cauallero  Almonte  (?)* 

Otahio,  vie  jo  Quinones 

Misseno,  su  amigo  --. ...Villanueba 

Duardo       f  1 Guebara 

Laurenzio  \cauallcros   V - Benito 

Feniso         [  J .....Simon 

Rufino,  maestro  .'- Aguado 

Nise,  dama -. - Jeronima 

Fined>,  su  hermana Maria 

Qelia,  criada  Ysabel 

Clara,  criada{s)  --.. Ana  Maria 

Pedro,  lacayo  - 

*  The  name  Almonte  has  been  scratched  so  as  to  be  scarcely  legible 
and  Caruajal  written  directly  over  it,  as  though  the  latter  were  intended 
to  take  the  part  of  Leandro.  Lope's  intention,  however,  may  have  been 
to  assign  the  part  of  Turin  to  Caruajal  (cf.  also  the  note  on  the  actors 
and  actresses). 

ACTO   p[rIMERO]^ 

[SaJfjan]  Lisseo,  cavallero,  y  Turin,  lacayo.     Los  dos  dc  camino. 

Liseo.  i  Que  lindas  possadas ! 

Turin.  Frescas. 

Liseo.  No  ay  calor. 

Turin.  Cliinehes  y  ropa 

tienen  fama  en  toda  Eiiropa. 
Liseo.  Famoso  lugar  Yllescas; 

no  ay  en  todos  los  qne  miras  5 

qnien  le  ygnale. 

1  An  asterisk  in  the  margin  indicates  that  the  corresponding  verse  has 
a  note. 


144 


ACTO  PFIMEEO 


Turin. 

Liseo. 
Turin. 

Liseo. 


Turin. 
Liseo. 
Turin. 


Liseo. 

Turin. 
Liseo. 


Turin. 


Liseo. 
Turin. 


Ann  si  supieses 
la  causa.  .  .  . 

^,Qual  es? 

Dos  messes 
dc  guindas  y  de  mentiras. 
Como  aqui,  Turin,  se  juntan 
de  la  Corte  y  de  Sebilla, 
Andaluzia  y  Castilla, 
vnos  a  otros  preguntan, 
vnos  de  las  Yndias  euentan, 
y  otros  eon  discursos  largos 
de  probissiones  y  eargos, 
cossas  que  el  vulgo  alimentan. 
I,  No  tomaste  las  medidas  ? 
Vna  dozena  tome. 
i,  Y  ymagenes  ? 

Con  la  fee 
que  son  de  Espafia  adniitidas, 
por  milagrosas  en  todo 
quanto  en  qualquiera  ocasion 
les  pide  la  deboeion 
y  el  nonbre. 

Pues,  dese  modo 
lleg[u]en  las  postas  y  vamos. 
^. No  has  de  comer? 

Aguardar 
a  que  se  guise,  es  pensar 
que  a  media  noche  llegamos ; 
y  vn  despossado,  Turin, 
ha  de  llegar  quando  pueda 
luzir. 

Mui  atras  se  queda 
con  el  repuesto  Marin; 
pero  yo  traygo  que  comas. 
I.  Que  trahes  ? 

Ya  lo  veras. 


10 


15 


20 


25* 


30 


Liseo. 

Dilo. 

Turin. 

Guarda. 

Liseo. 

Necio  estas. 

Turin. 

^Desto  pesadumbre  tomas? 

Liseo. 

Plies  i^ara  dezir  lo  que  es  .  .  . 

Turin. 

Ay  a  quien  pesa  de  oyr 

su  noubre ;  basta  decir 

que  tu  lo  sabras  despues. 

Liseo. 

Entretienese  la  hanbre 

con  saber  que  ha  de  comer. 

Turin. 

Pues  sabete  que  ha  de  ser.  .  .  . 

Liseo. 

;  Presto ! 

Turin. 

tozino  fianbre. 

Liseo. 

Pues  ^a  quien  puede  pessar 

de  oyr  nonbre  tan  hidalgo, 

Turin?    Si  me  has  de  dar  algo, 

^que  cossa  me  puedes  dar, 

que  tenga  ygual  a  esse  nombre? 

Turin. 

Esto  y  vna  hermosa  caxa. 

Liseo. 

Dame  de  queso  vna  raxa ; 

que  nunca  el  dulce  es  mui  onbre. 

Turin. 

Esas  liziones  no  son 

de  galan  ni  despossado. 

Liseo. 

Aun  agora  no  he  llegado. 

Turin. 

Las  damas  de  Corte  son 

todas  vn  fino  cristal : 

trasparentes  y  diuinas. 

Liseo. 

Turin,  las  mas  cristalinas 

comeran. 

Turin. 

Es  natural ; 

pero  esta  hermosa  Finea, 

con  quien  a  eassarte  vas, 

comera.  .  .  . 

Liseo. 

Dilo. 

Turin. 

no  mas 

de  azucar,  mana  y  xalea. 

LA  DAMA  BOBA  145 


35 


40 


45 


*50 


55 


146 


AC  TO   ri!IMi:i;(} 


Pasai'asc  vua  sciiiaiia 

con  dos  puntos  en  A  ayre 

de  azucar. 
Lisco.  Gentil  donavre. 

Turin.  ^  Que  piensas  dar  a  su  lierniana? 

Lisco.  A  Nise,  su  hennana  bell  a, 

vna  rosa  de  dianiantes ; 

que  asi  tengan  los  amantes 

tales  firmezas  con  ella. 

Y  vna  cadena  tanbien 

que  conpite  con  la  rossa. 

Dizen  que  es  tanbien  liermossa. 

Mi  esposa  pareze  bien, 

si  doy  eredito  a  la  fama. 

De  su  hermana  poco  se ; 

pero  basta  que  me  de 

lo  que  mas  se  estima  y  ama. 

i  Bello  golpe  de  dinero ! 

Son  quarenta  mil  ducados. 

i  Brabo  dote ! 

Si  contados 

los  llego  a  ver  como  espero. 
Turin.  De  vn  macho  eon  guarniziones 

verdes  y  estribos  de  palo 

se  apea  vn  hidalgo. 
Liseo.  Malo, 

si  la  merienda  me  pones. 


Turin. 
Liseo. 


Turin. 
Lisco. 
Turin. 
Lisco. 


70 


*  [Saiga]  Jjcandro,  de  camino 


Leandro.       Huesped,  ^Jiabra  que  comer? 
Liseo.  Seays,  seiior,  bien  llegado. 

Leandro.       Y  vos  en  la  misma  hallado. 
Liseo.  I A  Madrid  ?  .  .  . 

Leandro.  Dexele  ayer 

cansado  de  no  sailir 


90 


LA  DAMA  BOBA 


14^ 


eon  preteusiones  eansadas. 
Lisro.  Essas  van  adjetiuadas 

con  esperar  y  sufrir. 

Holgara  por  yr  con  vos: 

llebaramos  vn  camino. 
Leandru.       Si  vays  a  lo  que  ymagino, 

nunca  lo  permita  Dios. 
Lisco.  No  llebo  que  pretender  ; 

a  negocios  echos  voy. 

I  Soys  de  esse  lugar  ? 
Leandvo.  Si  soy. 

Lisco.  Luego  podreys  eonozer 

la  persona  que  os  nonbrare. 
Leandyo.       Es  Madrid  vna  talega 

de  piezas  donde  se  anega 

quanto  su  maquina  pare  : 

los  reyes,  roques  y  arfiles 

eonozidas  cassas  tienen, 

los  demas  que  van  y  vienen 

son  como  peones  viles ; 

todo  es  alii  confussion. 
Liseo.  No  es  Otabio  pieza  vil. 

Leandro.       Si  es  quien  yo  pienso,  es  arfil, 

y  pieza  de  estimacion. 
Liseo.  Quien  yo  digo  es  padre  noble 

de  dos  hijas. 
Leandro.  Ya  se  quien  ; 

pero  dixerades  bien 

que  de  vna  palma  y  de  un  roble. 
Liseo.  I  Como  ? 

Leandvo.  Que  entranbas  lo  son  ; 

pues  Nise  bella  es  la  palma, 

Finea  vn  roble,  sin  alma 

y  discurso  de  razon. 

Nise  es  muger  tan  discreta, 

sabia,  gallarda,  entendida, 


95 


100 


105 


110 


115 


120 


125 


ACTO  PBIMEBO 


Lisro. 
L<  andro. 


Liseo. 

Turin. 
Liseo. 


Leandro. 


Liseo. 

Leandro. 

Liseo. 


Leandro. 


qnanto  Finea  encogida, 
boba,  indigna  y  ynperfeta ; 
y  aim  pienso  que  ohi  tratar 
que  la  casauan. 

\a  Turin]  ^No  escuchas? 

Verdad  es  que  no  habra  muchas 
que  la  puedan  ygualar 
en  el  riquissimo  dote. 
Mas  j  ay  de  aquel  desdichado 
que  espera  vna  bestia  al  lado ! 
Pues  mas  de  algun  marquesote 
a  codieia  del  dinero 
pretende  la  boberia 
desta  dama,  y  a  porfia 
hacen  su  calle  terrero, 
[a  Turin]  Yo  llebo  lindo  concierto; 
a  gentiles  vistas  voy. 
[a  Liseo]  Disimula. 

Tal  estoy, 
que  apenas  a  hablar  aeierto.     [a  Turin 
En  fin,  seiior,  ^  Nise  es  bella 
y  discreta?  .  .  . 

Es  celebrada 
per  vnica,  y  desseada 
por  las  partes  que  ay  en  ella 
de  gente  mui  principal. 
I,  Tan  neeia  es  esa  Finea  ? 
Mucho  sentis  que  lo  sea. 
Contenplo  de  sangre  ygual 
dos  cosas  tan  desiguales ; 
mas  /, como  en  dote  lo  son? 
Que  hermanas  fuera  razon  %- 

que  los  tubieran  yguales. 
Oygo  decir  que  vn  hermano 
de  su  padre  la  dexo 
esta  hazienda,  porque  vio 


130 


13o 


140 


145 


150 


155 


LA  DAMA  BOBA 

149 

que  sill  ella  fiiera  en  vaiio 

160 

cassarla  con  honbre  ygual 

a  su  noble  nacimiento, 

supliendo  el  entendimiento 

eon  el  oro. 

Liseo. 

El  hizo  mal. 

Leandro. 

Antes  bien ;  porque  con  esto 
tan  discreta  vendra  a  ser 
como  Nise. 

165 

Turin 

^Has  de  comer? 

Liseo. 

Ponme  lo  que  dizes  presto, 
aunque  ya  puedo  escusallo. 

Leandro. 

^Mandays,  seiior,  otra  cossa? 

170 

Liseo. 

Seruiros.     [Entrese  Leandro]. 
i  Que  linda  esposa ! 

Turin. 

l  Que  haremos  1 

Liseo. 

Ponte  a  caballo; 
que  ya  no  quiero  comer. 

Turin. 

No  te  aflixas,  pues  no  es  echo. 

Liseo. 

Que  me  ha  de  matar,  sospecho, 
si  es  necia,  y  propia  muger. 

175 

Turin. 

Como  tu  no  digas  si, 

I  quien  te  puede  cautibar  ? 

Liseo. 

Verla,  i  no  me  ha  de  matar, 

aunque  es  basilisco  en  mi? 

*180 

Turin. 

No,  seiior. 

Liseo. 

Tanbien  aduierte 
que,  siendo  tan  entendida 
Nise,  me  dara  la  vida, 
si  ella  me  diere  la  muerte. 

*     Entrense,  y  salgan  Otahio,  vie  jo,  y  Miseno 

Otdbio.  Esta  fue  la  intension  que  tuuo  Fabio. 

Miseno.         Pareze  que  os  quexais. 
Otahio.  Bien  mal  enplea 

mi  liermano  tanta  hazienda,  no  fue  sabio : 


185* 


150 


ACTO  riilMKUO 


Miscno. 


Otabi 


Misow. 


Otahic 


Miseno. 


Otahio. 


Miseno. 


Otahio. 


bicn  es  que  Fabio,  y  (iiic  no  sabio  sea. 

Si  en  dexaros  liazieiida  os  hi/o  agra])io, 

vos  jM-opio  lo  juzgad. 

Dexo  a  Finea,  190 

a  titnlo  de  sinple,  tan  gran  renta, 

que  a  todos  hasta  agora  nos  sustenta. 

Dexola  a  la  que  mas  le  parezia 

de  sus  sobrinas. 

Vos  andais  discrete; 

pues  a  quien  beredo  sii  boberia, 

dexo  su  hazienda  para  el  misrao  effete. 

De  Nise  la  diuina  gallardia, 

las  altas  esperanzas,  y  el  eoneeto 

OS  deben  de  tener  apasionado. 

I,  Quien  duda  que  le  soys  mas  inclinado  ? 
Mis  hijas  son  entranbas ;  mas  yo  os  juro, 

que  me  enfadan  y  cansan  cada  vna 

por  su  camino,  quando  mas  procure 

mostrar  amor  y  ynclinacion  a  alguna. 

Si  ser  Finea  sinple  es  case  dure, 

ya  lo  suplen  los  bienes  de  Fertuna 

y  algunos  que  le  die  naturaleza, 

sienpre  mas  liberal  de  la  belleza. 

Pero  ver  tan  discreta  y  arregante 

a  Nisse  mas  me  pudre  y  martiriza, 

y  que  de  bien  hablada  y  elegante 

el  vulgazo  la  aprueba  y  soleniza. 

Si  me  cassara  agora — y  no  te  espante 

esta  opinion,  que  algune  la  autoriza — , 

de  dos  estremos,  boba  e  bachillera, 

de  la  boba  eleccien  sin  duda  hiziera.  '■ 

No  digays  tal,  per  Dies ;  que  estan  sujetas 

a  no  acertar  en  nada. 

Eso  es  engafio ; 
que  ye  no  trato  aqui  de  las  discretas ; 
solo  a  las  bachilleras  desengaiio.  220 


195 


200 


205 


2104 


215 


LA  DAMA  BOBA 


Miseno. 


Otabio. 


Miseno. 
Otahio. 

Miseno. 
Otahio. 


Miseno. 


De  Vila  cassada  son  partes  perfetas 

virtiid  y  oiiestidad. 

Parir  cadafio, 

no  dixerades  mal,  si  es  argumento 

de  que  vos  no  quereys  entendimiento. 

Esta  la  discrecion  de  vna  eassada 

en  amar  y  servir  a  su  marido, 

en  vivir  reeogida  y  recatada, 

honesta  en  el  hablar  y  en  el  vestido ; 

en  ser  de  la  familia  respetada, 

en  retirar  la  vista  y  el  oydo, 

en  enseiiar  los  hijos  euidadosa, 

preciada  mas  de  linpia  que  de  hermosa. 

i,  Para  que  quiero  yo  que  bachillera 

la  que  es  propia  muger  concetos  diga  ? 

Esto  de  Nise  por  cassar  me  altera ; 
lo  mas  corao  lo  menos  me  fatiga. 

Resuelbome  en  dos  cosas  que  quisiera, 

piles  la  virtud  es  bien  que  el  medio  siga : 
que  Finea  supiera  mas  que  sabe, 
y  Nise  menos. 

Hablais  cuerdo  y  grabe. 
Si,  tod  OS  los  estremos  tienen  vizio ; 
yo  estoy  con  justa  causa  discontento. 
Y  i  que  ay  de  vuestro  yerno  1 

Aqui  el  oficio 
de  padre  y  diieno  alarga  el  pensamiento. 
Casso  a  Finea,  que  es  notable  yndicio 
de  las  leyes  del  miindo  al  oro  atento. 
Nise,  tan  sabia,  docta  y  entendida, 
apenas  halla  vn  onbre  que  la  pida ; 
y  por  Finea  simple,  por  instantes 
me  solieitan  tantos  pretendientes, 
— del  oro  mas  que  del  yngenio  amantes — 
que  me  cansan  amigos  y  parientes. 
Razones  ay  al  parezer  bastantes. 


225 


230 


240 


245 


152  ACTO  PBIMEKO 

[Otahio.]       \\\i\  liallo  yo,  sin  imu-lios  apareiites,  * 

y  OS  el  buscar  vn  onbre  en  todo  estado  255 

lo  que  le  falta  mas,  eon  mas  enidado. 

Miscno.  Eso  no  entiendo  bien. 

Otahio.  Estadme  atento. 

Ningun  honbre  nacido  a  pensar  viene 
que  le  falta  Miseno  entendimiento,  * 

y  con  esto  no  busca  lo  que  tiene.  260 

Ve  que  el  oro  le  falta  y  el  sustento, 
y  piensa  que  buscalle  le  eonuiene ; 
pues  como  ser  la  falta  el  oro  entienda, 
dexa  el  entendimiento,  y  busca  hazienda. 

Miscno.  i  Piedad  del  cielo  que  ningun  nazido  265 

se  quexe  de  faltarle  entendimiento! 

Otahio.  Pues  a  muchos,  que  nunea  lo  ban  crehido, 

les  falta,  y  son  sus  obras  argumento. 

Miseno.  Nise  es  aquesta. 

Otahio.  Quitame  el  sentido 

su  desbanecimiento. 

Miseno.  Vn  casamiento  270 

OS  traygo  yo. 

Otahio.  Casemosla  ;  que  temo 

alguna  necedad  de  tanto  estremo. 


* 

[Entrense  Otahio  y  Miseno,  y  salgan]  Nise  y  Celia, 

criada 

Nise. 

I  Diote  el  libro  ?                                                           ^ 

Celia. 

Y  tal,  que  obliga 

a  no  abrille  ni  tocalle. 

Nise. 

Pues,  ^porque? 

Celia. 

Por  no  ensucialle,                       275 

si  quieres  que  te  lo  diga ; 

en  eandido  pergamino 

vienen  muchas  flores  de  oro. 

Nise. 

Bien  lo  mereze  Eliodoro,                                               * 

griego  poeta  diuino.                                                   280 

LA  DAMA  BOBA  153 

Celia.  ^Poeta?     Pues  pareziome 

prosa. 
Nisc.  Tanbien  ay  poessia 

en  prosa. 
Celia.  No  lo  sabia  ; 

mire  el  principio,  y  cansome. 
Nise.  Es  que  no  se  da  a  entender  285* 

con  el  artificio  griego 

liasta  el  quinto  libro,  y  luego 

todo  se  viene  a  saber 

qiianto  precede  a  los  quatro. 
Celia.  En  fin,  i  es  poeta  en  prosa  ?  ■  290 

Nise.  Y  de  vna  historia  amorosa 

digna  de  aplauso  y  teatro.  * 

Ay  dos  prosas  diferentes, 

poetica  y  historial : 

la  historial,  lisa  y  leal,  295 

cuenta  verdades  patentes 

con  frasi  y  terminos  claros; 

la  poetica  es  hermosa,  * 

varia,  culta,  licenciosa 

y  escura,  aim  a  ingenios  raros;  300 

tiene  mil  exornaciones 

y  retoricas  figuras. 
Celia.  i,  Pues  de  cosas  tan  escuras 

juzgan  tantos? 
Nise.  No  le  pones, 

Celia,  pequeHa  objeccion  ;  305 

pero  asi  corre  el  engaiio 

del  mundo. 

'^[Salgan]  Finea,  dama,  con  mas  cartillas, 

y  Rufino,  maestro. 
Finea.  Ni  en  todo  el  afio 

saldre  con  essa  lizion. 
Celia.  Tu  hermana  con  su  maestro.     \a  Nise] 


# 


154 


ACTO  FL'JMEIiO 


Nis(\  I  Conoze  las  k-tras  ya  ? 

(.'<Iia.  En  los  prinoipios  esta. 

Rufino.  Pacjiencia,  o  no  letras  nnicstro. 

,"  Que  OS  esta  ? 
Fi)i><i.  Lt'ti-a  sera. 

Rufiuo.  i.  Letra? 

Finca.  ^Pnes  es  otra  cosa? 

Rufino.  i  No  sino  el  alba  !     j  Que  hennosa 

bestia!  [apart e] 
Finca.  Bien,  bien  ;  si,  ya,  ya : 

el  alba  debe  de  ser, 
quando  andaua  entre  las  coles. 
Rufino.  Esta  es  ca:  los  espaiioles 

no  la  solemos  poner 
en  nuestra  lengua  xamas. 
Usanla  muclio  alenianes 
y  flamencos. 
Finea.  i  Que  galanes 

van  todos  estos  detras ! 
Rufino.         Estas  son  letras  tanbien, 
Finea.  i  Tantas  ay  ? 

Rufino.  Beyntitres  son. 

Finea.  A  [o]  ra  baya  de  licion, 

que  yo  lo  dire  mui  bien. 
Rufino.  ^Que  es  esta? 

Finea.  ^Aquesta?     No  se. 

Rufino.  Y^esta? 

Finea.  No  se  que  responda. 

Rufino.  Y^esta? 

Finea.  ^Qual?    ^Esta  redonda 

letra  ? 
Rufino.  Bien. 

Finea.  Luego  i  acerte  ? 

Rufino.  ]  Linda  bestia  ! 

Finea.  j  Assi,  assi! 

Bestia,  por  Dios,  se  llamaua ; 


310 


320 


32- 


3^ 


LA  DAM  A  BOB  A 

155 

pero  no  se  me  acordaua. 

335* 

Rufino. 

Esta  es  erre,  y  esta  es  y. 

Finea. 

^  Pues  si  tu  lo  trahes  errado  ? 

# 

Nise. 

i  Con  que  pesadunbre  estan  ! 

Rufino. 
Finea. 

Di  aqiii:  b,  a,  n,  ban. 
^Donde  van? 

Rufino. 

i  Gentil  cnidado ! 

340 

Finea. 

Qne  se  van  i  no  me  dezias  1 

Rufino. 

Letras  son  :   miralas  bien. 

Finea. 

Ya  miro. 

Rufino. 

B,  e,  n,  ven. 

Finea. 

i,  Adonde  ? 

Rufino. 

Adonde  en  mis  dias 

no  te  buelba  mas  a  ver. 

345 

Finea. 

^  Ven,  no  dizes  ?    Pues  ya  voy. 

Rufino. 

;  Perdiendo  el  juicio  estoy  ! 
Es  ynposible  aprender. 
;  Vine  Dios !   que  te  he  de  dar 
vna  palmeta. 

Finea. 

^Tu  a  mi? 

*      [El  maestro]  saca  vna  palmatoria. 

350 

Rufino. 

Muestra  la  mano. 

Finea. 

Ela  aqui. 

Rufino. 

Aprende  a  deletrear. 

Finea. 

j  Ay,  perro !    i  aquesto  es  palmeta  ? 

Rufino. 

Pues   /,  que  pensauas? 

Finea. 

i  Aguarda ! 

Nise. 

Ella  le  mata. 

Celia. 

Ya  tarda 
tu  fabor,  Nise  discreta. 

355 

Rufino. 

i  Ay,  que  me  mata  ! 

Nise. 

I  Que  es  esto  ? 
I A  tu  maestro  ? 

Finea. 

Hame  dado 
causa. 

l.-.fi 


ACTO  PEIMEKO 


Nise. 

i,  Conio  ? 

Finea. 

llainc  ('iiganado. 

Rufino. 

tYo  ongafiado? 

Nise. 

Dila  presto. 

Finea. 

Estaiia  aprendiendo  aqui 

la  letra  bestia  y  la  ea. 

Nise. 

La  priinera  sabes  ya. 

Finea. 

Es  verdad :   ya  la  aprendi. 

Saeo  vn  coquete  de  palo, 

y  al  cabo  vna  media  bola, 

pidiome  la  mano  sola, 

— i  mira  que  lindo  regalo ! — 

y  apenas  me  la  tomo, 

quando  ;  cas !   la  bola  asienta, 

que  pica  como  pimienta, 

y  la  mano  me  quebro. 

Nise. 

Quando  el  dicipulo  ygnora, 

tiene  el  maestro  licencia 

de  castigar. 

Finea. 

i  Linda  ciencia ! 

Rufino. 

Aunque  me  diese,  sefiora, 

vuestro  padre  quanto  tiene, 

no  he  de  darle  otra  lizion. 

Celia. 

Fuesse.      [Entrcsc  Rufino] 

Nise. 

No  tienes  razon ; 

sufrir  y  aprender  conuiene. 

Finea. 

Pues  las  letras  que  alii  estan, 

I  yo  no  las  aprendo  bien  ? 

Vengo  quando  dize  ven, 

y  voy  quando  dize  van. 

I  Que  quiere,  Nise,  el  maestro, 

quebrandome  la  cabeza 

eon  ban,  bin,  bon  ? 

Celia. 

Ella  es  pieza 

de  rey.     [apart e] 

Nise. 

Quiere  el  padre  nuestro 

*360 


365 


370^ 


375 


380 


385 


LA  DAM  A  BOB  A  157 


390 


que  aprendainos. 

Finca. 

Ya  yo  se 

el  Padre  Nnestro. 

Nise. 

No  digo, 

sino  el  niiestro,  y  el  castigo 

por  darte  memoria  fue. 

Finca. 

Pongame  vn  ylo  en  el  dedo, 

y  no  aquel  palo  en  la  palma. 

Celia. 

Mas  que  se  te  sale  el  alma, 

si  lo  sabe  .  .  . 

Finea. 

Muerta  quedo. 

i  0  Celia  !  no  se  lo  digas, 

y  veras  que  te  dare. 

*      [Saiga]  Clara,  criada 

Clara. 

Tope  contigo,  a  la  fee.     [a  Finca 

Nise. 

Ya,  Celia,  las  dos  amigas 

se  ban  juntado. 

Celia. 

A  nadie  quiere 

mas  en  todas  las  criadas. 

Clara. 

i  Dame  albricias,  tan  bien  dadas, 

como  el  sueeso  requiere ! 

Finea. 

Pues  fede  que  son? 

Clara. 

Ya  pario 

nuestra  gata  la  romana. 

Finca. 

^Qierto,  cierto? 

Clara. 

Esta  mailana. 

Finea. 

^  Pario  en  el  tejado? 

Clara. 

No. 

Finea. 

Pues  ^donde? 

Clara. 

En  el  aposento ; 

que  cierto  se  echo  de  ber 

su  entendimiento. 

Finca. 

Es  muger 

notable. 

Clara. 

Escucha  vn  momento. 

Salia  por  donde  suele 

395* 


400 


405* 


410 


ir.8  ACTO  PFIMEEO 

»']  sol,  imii  ^alan  y  rico, 

con  la  librea  del  re}',  415* 

eolorado  y  amarillo; 

aiidauan  los  carretones  * 

(juitandole  el  romadizo  * 

que  da  la  iioehe  a  Madrid. 

Aunqiie  no  se  quien  me  dixo  420 

que  era  la  ealle  Mayor  * 

el  soldado  mas  antiguo, 

pues  nunca  el  mayor  de  Flandes 

presento  tantos  seruizios.  * 

Pregonauaii  agua  ardiente,  425* 

— agua  viznieta  del  vino — , 

los  honbres  earnestolendas,  * 

tod  OS  naranjas  y  gritos. 

Dormian  las  rentas  grandes, 

despertauan  los  offizios,  430* 

toeauan  los  boticarios  * 

sus  almirezes  a  pino, 

quando  la  gata  de  cassa 

comenzo  con  mil  suspiros 

a  dezir :   ;  Ay,  ay,  ay,  ay,  435 

que  quiero  parir,  marido ! 

Lebantose  Oziquimocho,  * 

y  fue  eorriendo  a  dezirlo 

a  sus  parientes  y  deudos, 

que  deben  de  ser  moriscos,  440 

porque  el  lenguage  que  hablaban  "^  * 

en  tiple  de  monazillos,  * 

si  no  es  gerigonza  entrellos,  * 

no  es  espaiiol,  ni  latino. 

Vino  vna  gata  biuda,  445 

eon  bianco  y  negro  vestido, 

— sospecho  que  era  su  aguela — , 

gorda,  y  conpuesta  de  oeico ; 

y  si  lo  que  arrastra  onrra,  * 


LA  DAM  A  BOB  A  159 

como  dizen  los  antigiios,  450 

tan  onrrada  es  por  la  cola 

como  otros  por  sus  oficios. 

Truxole  cierta  manteca, 

desayunose,  y  prebino 

en  que  reeeuir  el  parto ;  455 

hubo  temerarios  gritos ; 

no  es  bui'la,  pario  seys  gatos 

tan  remendados  y  lindos, 

que  pudieran,  a  ser  pias,  * 

llebar  el  eoche  mas  rico.  460 

Regozijados  baxaron 

de  los  texados  vezinos, 

caballetes  y  terrados, 

todos  los  deudos  y  amigos : 

Lamicola,  Araiiicaldo,  465 

IMarfuz,  Marramao,  Mizilo, 

Tnmbaollin,  Mico,  Miturrio, 

Rabicorto,  Zapaquildo; 

vnos  vestidos  de  pardo, 

otros  de  bianco  vestidos,  470 

y  otros  con  forros  de  martas, 

en  cueras  y  capotillos. 

De  negro  vino  a  la  fiesta 

el  gallardo  Golosino, 

Into  que  mostraua  entonzes  475 

de  su  padre,  el  gaticidio. 

Qual  la  morzilla  presenta, 

qual  el  pez,  qual  el  cabrito, 

qual  el  gorrion  astuto, 

qual  el  sinple  palomino.  480 

Trazando  quedan  agora, 

para  mayor  regozijo, 

en  el  gatesco  senado, 

correr  gansos  cinco  a  cinco.  * 

Ven  presto ;  que  si  los  oyes,  ^^5 


]<;o 


ACTO  PIUMEFO 


Finca. 


Clara. 
Finca. 


diras  que  parezen  nifios, 

y  daras  a  la  parida 

ol  parabien  de  los  hijos. 

No  me  pudieras  coutar 

eossa  para  el  gusto  mio 

de  mayor  conteiitamicnto. 

Camilla. 

Tras  ti  camiiio. 


4!iu 


Nise. 
Celia. 
Nise. 
Celia. 


Nise. 


Duardo. 

Feniso. 

Laurencio. 

Duardo. 

Feniso. 

Nise. 

Laurencio. 


Nise. 


Laurencio. 


[Ent reuse  Finea  y  Clara] 
5  Ay  locura  semejaiite? 
I Y  Clara  es  boba  tanbien  ? 

Por  esso  la  qiiiere  bien.  4li5 

La  semejanza  es  bastante ; 
aiinque  yo  pienso  que  Clara 
es  mas  bellaca  que  boba. 
Con  esto  la  engana  y  roba. 

[Salgan]  Duardo,  Feniso,  Laurenzio,  cahalleros 

Aqui  como  estrella  clara  500 

a  su  hermosura  nos  guia. 
Y  aun  es  del  sol  su  luz  pura. 
i  0  reyna  de  la  hermosura  ! 
i  0  Nise ! 

i  0  sefiora  mia  ! 
Caballeros  .  .  . 

Esta  vez,  505 

por  vuestro  yngenio  gallardo, 
de  vn  soneto  de  Duardo 

OS  hemos  de  hazer  juez.  ; 

I A  mi,  que  soy  de  Finea 
hermana  y  sangre  ? 

A  vos  sola,  510 

que  soys  Sibila  espaiiola, 

no  cumana,  ni  eritrea,  * 

a  vos,  por  quien  ya  las  Graeias 


LA  DAM  A  BOB  A 


son  qiiatro  y  las  Musas  diez, 

es  justo  hazeros  juez. 
Nise.  Si  ygnoranzias,  si  desgracias 

triixerades  a  juzgar, 

era  justa  la  eleccion. 
Feniso.  Vuestra  rara  discrezion, 

ynposible  de  alabar, 

file  justamente  elegida ; 

oyd,  seiiora,  a  Eduardo. 
Nise.  Baya  el  soneto ;  ya  aguardo, 

aunqiie  de  yndigna  corrida. 
D  liar  do.        La  calidad  elementar  resiste 

mi  amor  que  a  la  virtud  eeleste  aspira, 
y  en  las  mentes  angelicas  se  mira, 
donde  la  ydea  del  calor  consiste. 

No  ya  como  elemento  el  fuego  viste 
el  alma  ciiyo  buelo  al  sol  admira ; 
que  de  ynferiores  mundos  se  retira, 
adonde  el  serafin  ardiendo  asiste. 

No  puede  elementar  fuego  abrasarme. 
La  virtud  celestial  que  viuifica, 
enuidia  el  verme  a  la  suprema  alcarme ; 

que  donde  el  fuego  angelico  me  aplica, 
liComo  podra  mortal  poder  tocarme, 
que  eterno  y  sin  contradiccion  inplica? 
Nise.  Ni  vna  palabra  entendi. 

Duardo.         Pues  en  parte  se  leyera, 

que  mas  de  alguno  dixera 

por  arroganzia : — Yo  si. 

La  yntencion,  o  el  argumento, 

es  pintar  a  quien  ya  llega 

libre  del  amor,  que  ciega 

con  luz  del  entendimiento, 

a  la  alta  contenplacion 

de  aquel  puro  amor  sin  fin, 

donde  es  fuego  al  serafin. 


515 


520 


525* 


530 


540 


545 


1(>2  ACTO  PBIMERO 

Nisc.  Arguinciito  y  ynteiizion  550 

(|U('(la  ciilcndido. 
Laurcncio.  ;  I'l-ofiuulos 

coiitji'ptos! 
Fcniso.  Mucho  la  escoiulcn.  * 

Duarilo.         Tres  fuegos  que  corresponden, 

lierinosa  Nise,  a  tres  mundos, 

dan  fundamento  a  los  otros.  555 

Nise.  Bien  los  podeys  declarar. 

Duardo.         Calidad  elementar 

es  el  calor  en  nosotros ; 

la  celestial  es  virtud 

que  ealienta  y  que  recrea,  560 

y  la  angelica  es  la  ydea 

del  calor. 
Nisc.  Con  ynquietud 

escucho  lo  que  no  entiendo. 
Duardo.         El  eleniento  en  nosotros 

es  f  uego. 
Nise.  ^Entendeys  vosotros?  565 

Duardo.         El  puro  sol  que  estays  viendo 

en  el  cielo  fuego  es, 

y  fuego  el  entendimiento 

serafico ;  pero  siento 

que  asi  difieren  los  tres ;  570 

que  el  que  elementar  se  llama, 

abrasa  quando  se  aplica ; 

el  celeste  viuifica, 

y  el  sobreceleste  ama. 
Nise.  No  discurras,  por  tu  vida ;  575 

vete  a  escuelas.  * 

Duardo.  Donde  estas, 

lo  son. 
Nise.  Yo  no  escucho  mas, 

de  no  entenderte  corrida. 

Escriue  facil  ... 


Duardo. 


Nisf. 

Fcniso. 

Duardo. 

Feniso. 

Duardo. 


LA  DAMA  BOBA  163 

a  lo  que  en  cosas  diuinas  580 

Platon,  * 

escriiiio,  piiso  cortinas ; 
que  tales,  eomo  estas,  son 
matemathicas  figuras 
y  enigmas. 

Oye,  Laurenzio. 
Ella  OS  ha  puesto  silenzio.     [a  Duardo]  585 

Temio  las  cosas  escuras. 
Es  muger. 

La  claridad  * 

a  todos  es  agradable, 
que  se  escriua,  o  que  se  liable. 


Nise. 
Laurencio 

Nise. 


Lau) 


*  Nise  aparte 
l  Como  va  de  voluntad  ? 
Como  qiiien  la  tiene  en  ti. 
Yo  te  la  pago  mui  bien. 
No  traygas  contigo  quien 
me  eclipse  el  hablarte  ansi. 
Yo,  seiiora,  no  me  atrebo 
por  mi  humildad  a  tus  ojos ; 
que  dando  en  viles  despojos 
se  af renta  el  rayo  de  Febo ; 
pero,  si  quieres  passar 
al  alma,  hallarasla  rica 
de  la  fee  que  amor  publica. 
Vn  papel  te  quiero  dar ; 
pero  ^como  podra  ser, 
que  destos  visto  no  sea  ? 

Laurencio.    Si  en  lo  que  el  alma  dessea 
me  quieres  faborezer, 
mano  y  papel  podre  aqui 
asir  juntos  atreuido, 
como  finjas  que  has  cahido. 

Nise.  j  Jesus!     [cae] 


Nise. 


590 


595 


600 


605 


164 


ACTO  PEIMEIiO 


Laurcncio.  ^Que  cs  eso? 

Nise.  Cahi.  610* 

Laurcncio.    Con  las  obras  ri'.sj)on(liste. 

Nise.  Essas  respond  en  mexor; 

que  no  ay  sin  obras  amor. 
Laurcncio.    Amor  en  obras  consiste. 
Nise.  Laurencio  mio,  a  Dios  queda.  615 

Duardo  y  Feniso,  adios. 
Duardo.         Y  tanta  ventura  a  vos, 

como  hermosura  os  conceda.     [entrensc  Nise  y  Celia] 

I  Que  OS  ha  dicho  del  soneto 

Nisse  ? 
Laurencio.  Que  es  mui  estremado.  620 

Duardo.         Habreys  los  dos  murmurado; 

que  hazeys  versos  en  efeto. 
Laurencio.    Ya  no  es  menester  hazellos 

para  saber  murmurallos ; 

que  se  atrebe  a  censurallos,  625 

quien  no  se  atrebe  a  entendellos. 
Feniso.  Los  dos  tenemos  que  hazer; 

licencia  nos  podeys  dar. 
Duardo.         Las  leyes  de  no  estorbar 

queremos  obedezer.  630 

Laurencio.    Malicia  es  esa. 
Feniso.  No  es  tal. 

La  diuina  Nise  es  vuestra, 

o,  por  lo  menos,  lo  muestra. 
Laurencio.    Pudiera,  a  tener  ygual. 

*    Despidanse,  y  quede  solo  Laurencio. 
Laurencio.    Hermoso  soys,  sin  duda,  pensamiento,  635* 

y  aunque  honesto  tan  bien,  con  ser  hermoso, 
si  es  calidad  del  bien  ser  probechoso, 
vna  parte  de  tres  que  os  falta  siento. 
Nise,  con  vn  diuino  entendimiento, 

OS  enrriqueze  de  vn  amor  diehoso ;  640 


LA  DAM  A  BOB  A  165 

mas  soys  de  dueiio  pobre,  y  es  forzoso, 
que  en  la  necessidad  falte  el  contento. 

Si  el  oro  es  bianco  y  centro  del  descanso, 
y  el  descanso  del  gusto,  yo  os  prometo, 
que  tarda  el  nauegar  con  viento  manso.  645 

Pensamiento,  muderaos  de  sujeto ; 

si  voy  neeio  tras  vos,  y  en  yr  me  canso, 
quail  do  vengays  tras  mi,  sereys  discreto. 

*     Entre  Pedro,  lacayo  de  Laurenzio 
Pedro.  i  Que  neeio  andaua  en  buscarte 

fuera  de  aqueste  lugar !  6^0 

Laurencio.    Bien  me  pudieras  hallar 

con  el  alma  en  otra  parte. 
Pedro.  Luego  ^,  estas  sin  ella  aqui? 

Laurencio.    Ha  podido  vn  pensamiento 

reducir  su  mobimiento  655 

desde  mi,  fuera  de  mi. 

^No  has  visto  que  la  saeta 

del  relox  en  vn  lugar 

firme  siempre  suele  estar, 

aunque  nunca  esta  quieta,  660 

y  tal  vez  esta  en  la  vna, 

y  luego  en  las  dos  esta  ? 

Pues  assi  mi  alma  ya, 

sin  hazer  mudanza  alguna 

de  la  eassa  en  que  me  ves,  665 

desde  Nisse  que  ha  querido 

a  las  doze  se  ha  subido, 

que  es  numero  de  ynteres.  * 

Pedro.  is  Pues  como  es  essa  mudanza  ? 

Laurencio.    Como  la  saeta  soy,  670 

que  desde  la  vna  voy 

por  lo  que  el  eirculo  alcanza. 

Seiialaua  a  Nise. 
Pedro.  Si. 


166  ACTO  PRIMKRO 

Laurcncio.    Piies  ya  senalo  en  Finea. 

Pedro.  i,  Esso  qiiieres  que  te  crea  ?  675 

Laurcncio.    /, Poi-  que  no,  si  ay  causa? 

Pedro.  Di. 

Laurencio.    Nise  es  vna  sola  licnnosa, 

Finea  las  doze  son  : 

ora  de  mas  bendiziou, 

mas  deseansada  y  copiosa.  680 

En  las  doze  el  ofizial  * 

descansa,  y  bastale  ser 

ora  entonzes  de  comer 

tan  precissa  y  natural. 

Quiero  decir  que  Finea  685 

ora  de  sustento  es, 

euyo  descanso  j^a  ves 

quanto  el  honbre  le  dessea. 

Denme  pues  las  doze  a  mi, 

que  soy  pobre,  con  muger,  690 

que  dandome  de  comer, 

es  la  mexor  para  mi. 

Nise  es  ora  ynfortunada,  * 

donde  mi  planeta  ayrado 

de  sestil  y  de  quadrado  695 

me  mira  con  frente  armada. 

Finea  es  ora  dichosa, 

donde  Jupiter  benigno 

me  esta  mirando  de  trino, 

con  aspecto  y  faz  hermosa.  TDo 

Doyme  a  entender,  que  poniendo 

en  Finea  mis  cuidados, 

a  quarenta  mil  ducados 

las  manos  voy  preuiniendo. 

Esta,  Pedro,  desde  oy  705 

j      ha  de  ser  enpressa  mia. 
Pedro.  Para  aprobar  tu  ossadia, 

en  vna  sospecha  estoy. 


LA  DAMA  BOBA  167 

Laiirencio.    ^Qual? 

Pedro.  Que  te  has  de  arrepentir 

por  ser  sinple  esta  muger.  710 

Laurencio.    ^.  Quien  has  visto  de  comer, 

de  descansar  y  vestir 

arrepentido  xamas  ? 

Plies  esto  viene  eon  ella. 
Pedro.  i,A  Nise  discreta  y  bella,  715 

Laurenzio,  dexar  podras 

por  vna  boba  ynorante  ? 
Laurencio.    ;  Que  ynorante  niaxadero! 

^No  ves  que  el  sol  del  dinero  * 

va  del  yngenio  adelante?  720 

El  que  es  pobre,  ese  es  tenido 

por  sinple,  el  rico  por  sabio. 

No  ay  en  el  nazer  agrabio, 

por  notable  que  aya  sido, 

que  el  dinero  no  le  encubra ;  725 

ni  ay  falta  en  naturaleza, 

que  con  la  mucha  pobreza 

no  se  aumente  y  se  descubra. 

Desde  oy  quiero  enamorar 

a  Finea. 
Pedro.  He  sospechado  730 

que  a  vn  yngenio  tan  cerrado, 

no  ay  puerta  por  donde  entrar. 
Laurencio.    Yo  se  qual. 
Pedro.  Yo  no,  por  Dios. 

Laurencio.    Clara,  su  boba  criada. 
Pedro.  Sospecho  que  es  mas  taymada  735 

que  boba. 
Laurencio.  Demos  los  dos 

en  enamorarlas. 
Pedro.  Creo 

que  Clara  sera  terzera 

mas  facil. 


168 


ACTO.  PEIMEEO 


Laurcncio.  Desa  inaiiera, 

seffiiro  va  mi  desseo. 


740 


Pedro. 

Laurcncio. 

Pedro. 

Laurcncio. 

Pedro. 

Laurcncio. 


Finea. 


iMurcncio. 


Finca. 


Laurcncio. 

Finea. 

Laurcncio. 

Finea. 


*     [Salgan]  Finea  y  Clara 
Ellas  vienen ;  disimiila. 
Si  puede  ser  en  mi  mano. 
i  Que  lia  de  poder  vn  eristiano 
enamorar  vna  mula ! 
Linda  eara  y  talle  tiene. 
;  Asi  fuera  el  alma  ! 

Agora 
conozeo,  liermosa  sefiora, 
que  no  solamente  viene 
el  sol  de  las  orientales 
partes,  pues  de  vuestros  ojos 
sale  con  rayos  mas  rojos, 
y  luzes  piramidales. 
Pero  si,  quando  salis, 
tan  grande  fuerza  traheys, 
al  mediodia  i  que  hareys  ? 
Comer,  como  vos  dezis, 
no  piramides  ni  peros, 
sino  eosas  probechosas. 
Esas  estrellas  hermosas, 
esos  nocturnes  luzeros 
me  tienen  fuera  de  mi. 
Si  vos  andays  con  estrellas, 
^que  mucho  que  os  traygan  ellas 
arromadizado  ansi  ? 
Acostaos  sienpre  tenprano, 
y  dormid  con  tocador. 
^No  entendeys  que  os  tengo  amor 
puro,  onesto,  linpio  y  llano? 
^Que  es  amor? 

I,  Amor  ?     Desseo. 
^De  que? 


745 


750 


r55 


roo 


780 


LA  DAM  A  BOB  A 

Laurencio.  De  vna  cossa  ennosa. 

Finea.  ^Es  oro?     ^es  diamante?     ^es  cosa 

destas  que  mui  lindas  veo? 
Laurencio.    No,  siiio  de  la  hermosura 

de  vna  muger  como  vos, 

que,  como  lo  ordena  Dios, 

para  buen  fin  se  procura ; 

y  esta,  que  vos  la  teneys, 

engendra  desseo  en  ml. 
Finea.  Y  yo    ^que  he  de  hazer  aqui, 

si  se  que  vos  me  quereys? 
Laurencio.    Quererme.     ^No  habeys  oydo 

que  amor  con  amor  se  paga  ? 
Finea.  No  se  yo  como  se  haga, 

porque  nunca  yo  he  querido, 

ni  en  la  cartilla  lo  vi,  785 

ni  me  lo  enseiio  mi  madre. 

Preguntarelo  a  mi  padre  ,  .  . 
Laurencio.    Esperaos,  que  no  es  ansi. 
Finea.  ^Pues  como? 

Laurencio.  Destos  mis  ojos 

saldran  vnos  rayos  vivos,  790 

como  espiritus  visiuos, 

de  sangre  y  de  fuego  rojos, 

que  se  entraran  por  los  vuestros. 
Finea.  No,  seiior  ;  arriedro  bay  a 

cossa  en  que  espiritus  aya.  795 

Laurencio.    Son  los  espiritus  nuestros, 

que  juntos  se  han  de  encender, 

y  causan  vn  dulce  fuego, 

con  que  se  pierde  el  sosiego, 

hasta  que  se  viene  a  ver  800 

el  alma  en  la  posicion, 

que  es  el  fin  del  cassamiento; 

que  con  este  santo  yntento 

justos  los  amores  son, 


ACTO  PniMERO 


FiiK  a. 

P,drn. 


Clara. 
Pedro. 
Clara. 
Pedro. 


Clara. 
Pedro. 


Clara. 


Finea. 
Tjaurencio. 


Finea. 

Laurencio. 
Finea. 

Laurencio. 

Finea. 

Laurencio. 


porque  el  alma  (iiu'  yo  tciigo 

a  viiostro  ])('t'lio  se  ])assa. 

;  Taiito  jiasa  (juicii  sc  cassa  ? 

("on  I'l.  eoino  os  digo,  vengo 

tan  niuerto  por  vuestro  amor, 

que  aquesta  ocasion  busque.     [a  Clara] 

I  Que  es  amor  ?    que  no  lo  se. 

^, Amor?     locura,  furor. 

^Pues  loca  tengo  de  estar? 

Es  vna  dulce  locura, 

por  quien  la  mayor  cordura 

suelen  los  hombres  trocar. 

Yo  lo  que  mi  ama  hiziere, 

eso  hare. 

Cieneia  es  amor, 
que  el  mas  rudo  labrador 
a  poeos  cursos  la  adquiere. 
En  eomenzando  a  querer, 
enferma  la  voluntad 
de  vna  dulce  enfermedad. 
No  me  la  mandes  tener, 
que  no  he  tenido  en  mi  vida 
sino  solos  sabaiiones. 
Agradanme  las  lieiones. 
Tu  veras,  de  mi  querida, 
como  has  de  quererme  aqui, 
que  es  luz  del  entendimiento 
amor. 

Lo  del  eassamiento 
me  quadra. 

Y  me  inporta  a  mi. 
I  Pues  llebarame  a  su  cassa, 

y  tendrame  alia  tanbien  ? 
Si,  seiiora. 

Y  I  eso  es  bien  ? 
Y  mui  justo  en  quien  se  cassa. 


810 


815 


830^ 


835 


LA  DAM  A  BOB  A 


171 


Finea. 

Laurencio. 

Finea. 

Laurencio. 


Finea. 

Laurencio. 

Finea. 

Clara. 

Pedro. 


Clara. 
Finea. 


Clara. 


Fini 


Viiestro  padre  y  vuestra  madre 
cassados  fueroii  ansi : 
deso  nacistes. 

feYo? 

Si. 
Qiiando  se  casso  mi  padre, 
I  no  estaua  yo  alii  tan  poco  ? 
i  Ay  seme  j ante  ygnoranzia  ! 
Sospecho  que  esta  gananzia 
camina  a  bolberme  loco,     [aparte] 
Mi  padre  pienso  qne  viene. 
Pues  voyme  :   aeordaos  de  mi. 
Que  me  plaze.     [entrese  Laurenzio] 
Fuesse. 

Si. 
Y  seguirle  me  eonviene. 

Tenedme  en  vuestra  memoria.     [entrese  Pedro] 
Si  OS  vays  ^  eomo  ? 

^Has  visto,  Clara, 
lo  que  es  amor  ?    i,  Quien  pensara 
tal  cosa? 

No  ay  pepitoria 
que  tenga  mas  menudenzias 
de  manos,  tripas  y  pies. 
Mi  padre,  como  lo  ves, 
anda  en  mil  inpertinenzias. 
Tratado  me  ha  de  cassar 
con  vn  caballero  yndiano. 
seuillano  o  toledano. 
Dos  vezes  me  vino  a  hablar, 
y  esta  postrera  saco 
de  vna  carta  vn  naypecito 
mui  repulido  y  bonito, 
y  luego  que  le  miro, 
me  dixo:    "Toma,  Finea; 
ese  es  tu  marido."    Y  fuesse. 


840 


845 


855 


865 


ACTO  PIUMKEO 


Fined. 
Clara. 
Finea. 

Clara. 

Finea. 
Clara. 

Finea. 


Clara. 


Yo  eoino  en  fin  no  supiesse 
esto  de  cassar  que  sea, 
tome  el  negro  del  marido, 
que  no  tiene  mas  de  cara, 
cuera  y  ropilla ;  mas,  Clara, 
jque  ynporta  que  sea  pulido 
este  marido,  o  quien  es, 
si  todo  el  euerpo  no  passa 
de  la  pretina?     Que  en  casa 
ninguno  sin  piernas  ves. 
Pardiez,  que  tienes  razon. 
feTienesle  ay? 

Vesle  aqui.     Saca  vn  ret  rat  o 
I  Buena  cara  y  euerpo ! 

Si. 
Mas  no  passa  del  jubon. 
Luego  este  no  podra  andar. 
i  Ay,  los  ojitos  que  tiene ! 
Senor  con  Nise  .  .  . 

i,  Si  viene 
a  easarte 1 

No  ay  cassar ; 
que  este  que  se  va  de  aqui 
tiene  piernas,  tiene  traza. 
Y  mas,  que  con  perro  caza ; 
que  el  mozo  me  muerde  a  mi. 


870 


875 


880 


885 


*     Entre  Otahio  con  Nise 
Otabio.  Por  la  calle  de  Toledo 

dizen  que  entro  por  la  posta. 
Nise.  ^Pues  como  no  llega  ya? 

Otahio.  Algo  por  dicha  acomoda. 

Tenblando  estoy  de  Finea. 
Nise.  Aqui  esta,  senor,  la  nobia. 

Otabio.  Hija,  /,no  sabes? 

Nise.  No  sabe ; 

que  esa  es  su  desdicha  toda. 


890 


895 


LA  DAMA  BOBA  173 

Otahio.  Ya  esta  en  Madrid  tii  marido. 

Finca.  Sienpre  tu  memoria  es  poca: 

I  no  me  le  diste  en  vn  naype  ? 
Otahio.  Esa  es  la  figura  sola,  900 

que  estaua  en  el  retratado ;  * 

que  lo  vino  viene  agora. 

*  Celia  entre 

Cclia.  Aqui  esta  el  senor  Lisseo, 

apeado  de  vnas  postas. 
Otahio.  Mira,  Finea,  que  estes  905 

mni  prudente,  y  mui  seiiora. 

Llegad  sillas  y  almohadas.  * 

*  [Salgan]  Lisseo,  Turin  y  criados 
Lisco.            Esta  licencia  se  toma 

quien  viene  a  ser  hijo  vuestro. 
Otahio.  Y  quien  viene  a  darnos  onrra.  910 

Lisco.  Agora  seiior,  decidme ; 

l  quien  es  de  las  dos  mi  esposa  ? 
Finca.  Yo:  pio  lo  ve? 

Lisco.  Bien  raerezco 

los  brazos. 
Finea.  ^Luego  no  inporta? 

Otahio.  Bien  le  puedes  abrazar.  915 

Finea.  Clara  .  .  . 

Clara.  i  Sefiora  ? 

Finca.  Aun  agora 

biene  con  piernas  y  pies. 
Clara.  Esto   ^  es  burla  o  xerigonza  ?  * 

Finca.  El  verle  de  medio  arriba 

me  daba  mayor  congoxa.  920 

Otahio.  Abrazad  vuestra  cunada. 

Lisco.  No  fue  la  fama  enganosa. 

que  hablaua  en  vuestra  hermosura.  * 

Nise.  Soy  mui  vuestra  servidora. 


]74 

ACTO  rUIMEKO 

Lisfo. 

Lo  que  es  el  eiiti'iKliiiiicnto, 

a  toda  Espafia  alhorota. 

La  diuina  Nise  os  llaman ; 

soys  discreta  coino  hermosa, 

y  hennosa  con  miicho  estrerao. 

Fiiua. 

<=  Plies  como  reqiiiebra  a  esotra, 

si  viene  a  ser  mi  marido  ? 

I  No  es  mas  necio  ?  .  .  . 

Ofahio. 

Calla,  loca, 

Sentaos,  hijos,  per  mi  vida. 

Liseo. 

Turin  .  .  . 

Turin. 

l  Seiior  ? 

Liseo. 

Linda  tonta. 

Otahio. 

I  Como  venis  del  camino  ? 

Liseo. 

Con  los  desseos  enoja  ; 

que  sienpre  le  hazen  mas  largo. 

Finea. 

Ese  macho  de  la  noria 

pudierays  haber  pedido, 

que  anda  como  vna  persona. 

Xise. 

Calla,  hermana. 

Finea. 

Callad  vos. 

Nise. 

Aunque  hermosa  y  virtuosa, 

es  Finea  deste  humor. 

Liseo. 

Turin,  ^traxiste  las  joyas? 

Turin. 

No  ha  llegado  nuestra  gente. 

Liseo. 

i  Que  de  olvidos  se  perdonan 

en  vn  camino  a  criados ! 

Finea. 

i  JoA^as  traheys  ? 

Turin. 

Y  le  sobra 

de  las  joyas  el  principio. 

tanto  el  jo  se  le  acomoda.     [aparte] 

Otahio. 

Calor  traheys.     /.Quereys  algo? 

I  Que  OS  aflixe  ?    ^  Que  os  congoxa  ? 

Liseo. 

Agua  quisiera  pedir. 

Otahio. 

Haraos  mal  el  agua  sola. 

Traygan  vna  caxa. 

925 


930 


935 


940 


945 


LA  DAM  A  BOB  A 

Finea.  A    fee, 

que  si  como  viene  agora 

fuera  el  sabado  passado, 

que  hizimos,  yo  y  esa  moza, 

vn  menudo  .  .  . 
Otahio.  Calla,  nezia. 

Finea.  Mucha  espeeia,  linda  cossa. 

*  Entren  con  agua,  toalla,  salha  ij  vna  caxa. 

Cclia.  El  agua  esta  aqui. 

Otahio.  Corned. 

Liseo.  El  verla,  seiior,  proboca, 

porque  con  su  risa  dize 

*  que  la  beba,  y  que  no  coma.    Beha. 
Finea.  El  bebe  como  vna  mula. 

Turin.  Buen  requiebro.     [aparte] 

Otahio.  I  Que  enfadosa 

que  estas  oy !     Calla,  si  quieres. 
Finea.  Aun  no  habeys  dexado  gota. 

Esperad :   os  linpiare. 
Otahio.  Pues  Itii  le  linpias? 

Finea.  ^,  Que  ynporta  ? 

Liseo.  Media  barba  me  ha  quitado ; 

lindamente  me  enamora.     [aimrtc] 
Otahio.  Que  descanseys  es  razon. 

Quiero,  pues  no  se  reporta, 

llebarle  de  aqui  a  Finea. 
Liseo.  Tarde  el  descanso  se  cobra, 

que  en  tal  desdicha  se  pierde.     [aparte] 
Otahio.  Aora  bien  :   entrad  vosotras, 

y  aderezad  su  apossento. 
Finea.  Mi  cama  pienso  que  sobra 

para  los  dos. 
Nise.  feTu  no  ves 

que  no  estan  echas  las  bodas? 
Finea.  Pues   ^  que  jaiporta  ? 


175 
955 


965 


970 


980 


ACTO  PFIMEHO 


Nisc. 

Finra. 

Nisr. 

Finca. 

Lisco. 

Otabio. 


Liseo. 


Turin. 
Liseo. 

Turin. 


Liseo. 


Veil  eonniisro. 


^Alla  dentro? 


Si. 


Turin. 
Liseo. 


Adios.     i  Ola ! 
Las  del  mar  do  mi  desdicha 
me  anegan  entre  sus  ondas.     [apart e] 
Yo  tanbien,  hijo,  me  voy, 
para  prebenir  las  eosas, 
que  para  que  os  desposeys 
con  mas  aplauso  me  tocan. 
Dios  OS  guarde. 

No  se  yo 
de  que  manera  disponga 
mi  desbentura.    [Ay  de  mil     [aparte] 

Todos  se  van;  queden  Liseo  y  Turin. 
feQuieres  quitarte  las  botas? 
No,  Turin,  sino  la  vida. 
i,  Ay  boba  tan  espantosa  ? 
Lastima  me  ha  dado  a  mi, 
eonsiderando  que  ponga 
en  vn  cuerpo  tan  hermoso 
el  eielo  vn  alma  tan  loca. 
Aunque  estubiera  eassado 
por  poder  en  causa  propia, 
me  pudiera  descassar. 
La  ley  es  liana  y  notoria, 
pues  coneertando  muger 
con  sentido,  me  desposan 
con  vna  bestia  del  canpo, 
con  vna  villana  tosca. 
Luego  I,  no  te  cassaras? 
i  Mai  aya  la  hazienda  toda 
que  con  tal  pension  se  adquiere, 
que  con  tal  eenso  se  toma ! 
Demas  que  aquesta  muger, 


9S5 


990 


995 


1000 


1005 


1010 


LA  DAMA  BOBA  177 

si  bien  es  hermosa  y  moza, 

I,  que  piiede  parir  de  mi,  1015 

sino  tigres,  leones  y  onzas? 
Turin.  Eso  es  engaiio;  que  vemos 

por  esperieneias  y  historias 

mil  hijos  de  padres  sabios, 

que  de  necios  los  desonrran.  1020 

Liseo.  Verdad  es  que  Ciceron  .     * 

tubo  a  Marco  Tulio  en  Roma, 

que  era  vn  caballo,  vn  camello. 
Turin.  De  la  raisma  suerte  consta 

que  de  necios  padres  suele  1025 

salir  vna  fenis  sola. 
Liseo.  Turin,  por  lo  general, 

y  es  consequenzia  forzosa, 

lo  semejante  se  engendra. 

Oy  la  palabra  se  ronpa,  1030 

rasganse  cartas  y  firmas;  .  * 

que  ningun  tesoro  conpra  * 

la  libertad.   Aun,  si  fuera 

Nise  .  .  . 
Turin.  i  0  que  bien  te  reportas ! 

Dizen  que  si  a  vn  honbre  ayrado,  1035 

que  colerico  se  arroja, 

le  pusiessen  vn  espejo, 

en  mirando  en  el  la  sonbra 

que  representa  su  cara, 

se  tienpla  y  desapasiona.  1040 

Assi  tu,  como  tu  gusto 

rairaste  en  su  liermana  bermosa, 

— que  el  gusto  es  cara  del  alma, 

pues  su  libertad  se  nonbra — 

luego  tenplaste  la  tuya. 
Liseo.  Bien  dizes,  porque  ella  sola 

el  enojo  de  su  padre, 

que,  como  ves,  me  alborota, 

me  puede  quitar,  Turin. 


1045 


178  ACTO  PIUMEBO 

Turin.  i  Quo  no  ay  que  tratar  tie  esotra  ?  1050 

List  a.  iPues  he  de  dexar  la  vida 

por  la  niuerte  temerosa, 

y  por  la  noche  enlutada 

el  sol  que  los  cielos  dora, 

por  los  aspides  las  aves,  1055 

por  las  espinas  las  rosas, 

y  por  vn  demonio  vn  angel  ? 
Turin.  Digo  que  razon  te  sobra: 

que  no  esta  el  gusto  en  el  oro ; 

que  son  el  oro  y  las  oras  1060 

mui  dibersas. 
Lisco.  Desde  a(]ui 

renunzio  la  dama  boba. 
Fin  del  prime ro  acta  dc  la  Dama  boba 


LA  DAMA  BOBA  179 


SEGUNDO  ACTO  DE  LA  DAMA  BOBA 

PERSONAS  DEL  SEGUNDO  ACTO 

Duardo 

Laurenzio 

Feniso 

Lisseo 

Nisse 

Qelia 

Clara 

Finea 

Pedro 

Turin 

Otauio 

Vn  maestro  de  danzar 

Rdhrica  de  Lope  de  Vega 

AcTO  Segundo 
Duardo,  Laiirencio,  Feniso 

Feniso.  En  fin  ha  passado  vn  mes, 

y  no  se  cassa  Lisseo. 
Duardo.         No  sienpre  muebe  el  desseo 

el  codizioso  ynteres. 
Laurcncio.    De  Nise  la  enfermedad 

ha  sido  causa  bastante. 
Feniso.  Ver  a  Finea  ignorante 

tenplara  su  voluntad. 
Laurencio.    Menos  lo  esta  que  solia. 

Temo  que  amor  ha  de  ser 

artificioso  a  enzender 

piedra  tan  elada  y  fria. 
Duardo.         Tales  milagros  ha  hecho  1075 

en  gente  rustica  amor. 


1070 


180  ACTO  SEGUNDO 

Fcniso.  No  se  tendra  por  monor 

dar  alma  a  su  rudo  pecho, 
Laurcncio.    Amor,  scnorcs,  ha  sido 

atiuel  ingenio  profundo,  lOSO 

que  llaman  alma  del  mundo, 

y  es  el  dotor  que  ha  tenido  * 

la  catreda  de  las  eienoias,  * 

porque  solo  con  amor 

aprende  el  honbre  mexor  1085 

sus  diuinas  diferenzias. 

Assi  lo  sintio  Plat  on  ;  * 

esto  Aristoteles  dijo, 

que  como  del  cielo  es  hijo, 

es  todo  contenplazion.  1090* 

(El'desseo  de  saber, 

que  es  al  honbre  natural, 

enseiia  con  fuerza  ygual) 

Delia  nazio  el  admirarse, 

y  de  admirarse  nazio 

el  filosophar  que  dio 

luz  con  que  pudo  fundarse 

toda  eieneia  artificial.  1095 

Y  a  amor  se  ha  de  agradezer 

que  el  desseo  de  saber 

es  al  hombre  natural. 

Amor  con  fuerza  suaue  * 

dio  al  honbre  el  saber  sentir,  lioo 

dio  leyes  para  viuir,  '^ 

politico,  honesto  y  graue. 

Amor  republicas  hizo ; 

que  la  concordia  nazio 

de  amor,  con  que  a  ser  boluio  1105 

lo  que  la  guerra  desizo. 

Amor  dio  lengua  a  las  aves, 

vistio  la  tierra  de  frutos, 

y  como  prados  enxutos. 


LA  DAMA  BOBA 

ronpio  el  mar  con  fiiertes  naues. 

Amor  enseiio  a  escriiiir 

altos  y  dulees  concetos, 

como  de  su  causa  effetos ; 

amor  enseiio  a  vestir 

al  mas  rudo,  al  mas  grosero ; 

de  la  eleganzia  fue  amor 

el  maestro,  el  ynbentor 

fue  de  los  versos  primero ; 

la  musica  se  le  debe, 

y  la  pintura ;  pues,    i  quien 

dexara  de  saber  bien, 

como  sus  effetos  pruebe? 

No  dudo  de  que  a  Finea, 

como  ella  comienze  a  amar, 

la  dexe  amor  de  enseiiar, 

por  ymposible  que  sea. 

Feniso.  Esta  bien  pensado  ansi, 

y  su  padre  lleba  yntento 
por  dicha  en  el  cassamiento 
que  ame  y  sepa. 

Duardo.  Y  yo  de  aqui, 

ynfamando  amores  locos, 
en  linpio  vengo  a  sacar, 
que  pocos  deben  de  amar 
en  lugar  que  saben  pocos. 

Feniso.  i  Linda  malicia  ! 

Laurencio.  Estremada. 

Feniso.  Difieil  cosa  es  saber. 

Laurencio.    Si;  pero  facil  creher 

que  sabe  el  que  poco  o  nada. 

Feniso.  \  Que  diuino  entendimiento 

tiene  Nise ! 

Duardo.  (^'elestial. 

Feniso.  i  Como,  siendo  necio  el  mal, 

ha  tenido  atreuimiento 


181 
1110 


1115 


1120 


1125 


1130 


1135 


1140 


182  AC  TO  SEGVNDO 

\)i\vd  ha/crlc  cstos  agrabios, 

de  tal  yiigeiiio  dospreq-ios  ? 
Laurcncio.    Porque  de  sufi-ir  a  iieeios  ll-^-'J 

sueleii  eiiferinar  los  sabios. 
Duardo.         Ella  viene. 
F(  iiiso.  Y  eon  razon 

se  alegra  qiiaiito  la  niira. 

*  [Salgan]  Nise  y  Cclia 

Nisc.  IMucho  la  historia  me  adinira.     [a  Celia] 

Cclia.  Ainores  pienso  que  son,  1150 

fundados  en  el  dinero. 
Nisc.  Nunca  fundo  sii  balor 

sobre  dineros  amor, 

que  busea  el  alma  primero. 
Duardo.         Seiiora,  a  vuestra  salud  1155 

oy  quantas  cosas  os  ven 

dan  alegre  parabien, 

y  tienen  vida  y  quietud ; 

que  como  vuestra  virtud 

era  el  sol  que  se  la  dio,  1160 

mientras  el  mal  le  eclipso, 

tanbien  lo  estuuieron  ellas; 

que  hasta  ver  vuestras  estrellas 

fortuna  el  tiempo  corrio.  * 

Mas  como  la  primavera  li65 

sale  eon  pies  de  marfil, 

y  el  vario  velo  sutil 

tiende  en  la  verde  ribera ; 

corre  el  agua  lisongera, 

y  estan  rinendo  las  flores  1170 

sobre  tomar  las  colores.  '    * 

Assi  vos  salis,  trocando 

el  triste  tiempo,  y  senbrando 

en  canpos  de  almas,  amores. 
Feniso.  Ya  se  rien  estas  fuentes,  1175* 


LA  DAM  A  BOB  A  18: 

y  son  perlas  las  que  fueron 
lagrimas,  con  que  sintieron 
esas  estrellas  ausentes ; 
y  a  las  aues  sus  corrientes 

hazen  instrumentos  claros  1180 

con  que  quieren  celebraros. 
Todo  se  anticipa  a  veros, 
y  todo  yntenta  ofrezeros 
con  lo  que  puede  alegraros. 

Pues  si  con  veros  hazeys  ^^^^ 

tales  effetos  agora, 
donde  no  ay  alma,  seiiora, 
mas  de  la  que  vos  poneys, 
en  mi   i  que  muestras  hareys, 

que  senales  de  alegria  1190 

este  venturoso  dia, 
despues  de  tantos  enojos, 
siendo  vos  sol  de  mis  ojos, 
siendo  vos  alma  en  la  mia  ? 
Laurencio.    A  estar  sin  vida  lleg[u]e  1195 

el  tiempo  que  no  os  serui ; 
que  fue  lo  mas  que  senti, 
aunque  sin  mi  culpa  fue. 
Yo  vuestros  males  pase, 

como  cuerpo  que  animals;  1200 

vos  mouimiento  me  days ; 
yo  soy  instrumento  vuestro, 
que  en  mi  vida  y  salud  muestro 
todo  lo  que  vos  passays. 

Parabien  me  den  a  mi  1205 

de  la  salud  que  ay  en  vos, 
pues  que  pasamos  los  dos 
el  mismo  mal  en  que  os  vi ; 
solamente  os  offend  i, 

aunque  la  disculpa  os  muestro,  1210 

en  que  este  mal  que  fue  nuestro. 


184  ACTO  SEGUNDO 

solo  tenerle  debia, 

no  vos,  que  soys  alma  inia ; 

yo  si,  que  soy  cuerpo  vuestro. 
Nisc.  Pienso  que  de  oposieion  1215 

me  days  los  tres  parabien. 
Laurcncio.    Y  es  bien,  pues  lo  soys  por  (luicu 

viuen  los  que  vuestros  son. 
Nise.  Diuertios,  por  mi  vida, 

cortandome  algunas  flores  1220 

los  dos,  pues  con  sus  colores 

la  diferenzia  os  conuida 

deste  jardin,  porque  quiero 

hablar  a  Laurenzio  vn  poco. 
Duardo.         Quien  ama  y  sufre,  o  es  loco,  1225 

o  necio. 
Fcniso.  Tal  premio  espero. 

Duardo.         No  son  vanos  mis  recelos. 
Feniso.  Ella  le  quiere. 

Duardo.  Yo  hare 

vn  ramillete  de  fee, 

pero  sembrado  de  celos.  1230 

[Entrense  Fcniso  y  Duardo] 
Laurencio.    Ya  se  ban  ydo.    ^Podre  yo, 

Nise,  con  mis  brazos  darte 

parabien  de  tu  salud? 
Nise.  Desbia,  fingido,  facil, 

lisongero,  engailador,  1235 

loco,  inconstante,  mudable 

honbre,  que  en  vn  mes  de  ausencia, 

— que  bien  mereze  llamarse 

ausenzia  la  enfermedad — 

el  pensamiento  mudaste.  .  1240 

Pero  mal  dixe  en  vn  mes, 

porque  puedes  disculparte 

con  que  crehiste  mi  muerte, 


LA  DAMA  BOBA  18; 

y  si  mi  miierte  pensaste, 

con  gracioso  sentimiento  12^5 

pagaste  el  amor  que  sabes, 

mudando  el  tiiyo  en  Finea. 
Laurencio.    ^Quedizes? 
Nise.  Pero  bien  hazes: 

tu  eres  pobre,  tii  discreto, 

ella  rica  y  ygnorante ;  ^250 

buscaste  lo  que  no  tienes, 

y  lo  que  tienes  dexaste. 

Diserezion  tienes,  y  en  mi 

la  que  celebrauas  antes 

dexas  con  mucha  razon  ;  1--55 

que  dos  yngenios  yguales 

no  conozen  superior. 

Y  ^por  dicha,  ymaginaste 

que  quisiera  yo  el  ynperio 

que  a  los  honbres  debe  darse? 

El  oro  que  no  tenias, 

tenerle  solicitaste 

enamorando  a  Finea. 
Laurencio.    Escucha. 

Nise.  is  Que  he  de  escucharte  ? 

Laurencio.    i  Quien  te  ha  dicho  que  yo  he  sido 

en  vn  mes  tan  inconstante? 
Nise.  ^Parezete  poco  vn  mes? 

Yo  te  disculpo,  no  hables ; 

que  la  luna  esta  en  el  cielo 

sin  intereses  mortales, 

y  en  vn  mes,  y  aun  algo  menos, 

esta  creziente  y  menguante. 

Tu  en  la  tierra,  y  de  Madrid, 

donde  ay  tantos  vendabales 

de  ynteresses  en  los  honbres, 

no  fue  milagro  mudarte. 

Dile,  Qelia,  lo  que  has  visto. 


1260 


1270 


18:5  ACTO  SKaiNDO 

('did.  Ya,  Laurcn/io.  no  tc  cspantes, 

de  (luo  Nise,  mi  senora, 

desta  manera  te  trate.  1280 

Yo  se  (lue  lias  dielio  a  Finea 

reqiiiebros. 
Laurciicio.  \  Que  ine  lebantes, 

i^elia,  tales  testimonios! 
Cclia.  Til  sabes  que  son  verdades; 

y  no  solo  tu  a  mi  dueiio  1285 

yngratamente  pagaste, 

pero  tu  Pedro,  el  que  tiene 

de  tus  seeretos  las  llabes, 

ama  a  Clara  tiernamente. 

I  Quieres  que  mas  te  declare  ?  1290 

Laurencio.    Tus  celos  ban  sido,  Celia, 

y  quieres  que  yo  los  pag[u]e. 

i,  Pedro  a  Clara,  aquella  boba  ? 
Nise.  Laurenzio,  si  le  enseiiaste, 

l  por  que  te  af rentas  de  aquello  1-95 

en  que  de  ciego  no  caes  ? 

Astrologo  me  parezes  ;  * 

que  sienpre  de  agenos  males, 

sin  reparar  en  los  suyos, 

largos  pronosticos  hazen.  1300 

i  Que  bien  enpleas  tu  ingenio ! 

"De  Nise  confieso  el  talle, 

mas  no  es  solo  el  esterior  ^ 

el  que  obliga  a  los  que  saben. ' ' 

i  0  quien  os  oyera  juntos !  1305 

Debeys  de  hablar  en  romanzes, 

porque  vn  discreto  y  vn  neeio  * 

(hablando  son-sonantes 

al  fin?  tendreys  correspondenzia) 

no  pueden  ser  eonsonantes.  * 

i  Ay,  Laurencio,  que  buen  pago 

de  fee  v  amor  tan  notable !  1310 


LA  DAM  A  BOB  A 


187 


Laurencio. 

Nise. 


Laurencio. 


Bieii  dizeii,  quo  a  los  aniigos 
prueba  la  cama  y  la  carzel. 
Yo  enferme  de  mis  tristezas, 
y  de  no  verte  ni  hablarte, 
sangraronme  muchas  vezes. 
i  Bien  me  alegraste  la  sangre ! 
Por  regalos  tuyos  tube 
mudanzas,  trayciones,  fraudes, 
pero,  pues  tan  duros  fueron, 
di  que  me  diste  diamantes. 
Aora  bien  :    esto  cesso. 
Oye,  aguarda. 

I  Que  te  aguarde  1 
Pretende  tu  riea  boba, 
aunque  yo  hare  que  se  easse 
mas  presto  que  tu  lo  piensas. 
Seilora  .  .  . 


1315 


1320 


1325 


« 

Entre  Liseo,  y  asga  Laurenzio  a  Nisse 

Liseo. 

Esperaua  tarde 

los  dessenganos ;  mas  ya 

no  quiere  amor  que  me  engaiie.     [apart e] 

Nise. 

i  Suelta ! 

Laurencio. 

No  quiero. 

Liseo. 

feQue  es  esto? 

Nise. 

Dize  Laurenzio  que  rasg[u]e 

vnos  versos  que  me  dio 

de  cierta  dama  ynorante, 

y  yo  digo  que  no  quiero. 

Laurencio. 

Tu  podra  ser  que  lo  aleanzes 

de  Nisse.    Ruegalo  tu. 

Liseo. 

Si  algo  tengo  que  rogarte, 

haz  algo  por  mis  memorias, 

y  rasga  lo  que  tu  sabes. 

Nise. 

Dexadme  los  dos.     [Vayanse  Nise  y  Celia 

Laurencio. 

\  Que  ayrada ! 

1330 


1335 


188 

ACTO  SEGUNDO 

Lisco. 

Yo  uie  espanto  que  te  trate 

con  estos  rigores  Nisse, 

Lauren  CIO. 

Plies,  Lisseo,  no  te  espantes ; 

que  es  defeto  en  los  diseretos 

tal  vez  el  no  ser  afables. 

Liseo. 

I  Tienes  (jue  hazer  ? 

Laurencio. 

Poco  0  nada. 

Lisco. 

Pues  bamonos  esta  tarde 

por  el  Prado  arriba. 

Laurencio. 

Vamos 

dondequiera  que  tu  mandes. 

Liseo. 

Detras  de  los  Recoletos 

quiero  hablarte. 

Laurencio. 

Si  el  hablarme 

no  es  con  las  lenguas  que  dizen. 

sino  con  lenguas  que  hazen. 

aunque  me  espanto  que  sea, 

dexare  cauallo  y  pajes. 

Liseo. 

Bien  puedes.     [Entrese] 

Jjaurencio. 

Yo  voy  tras  ti. 

i  Que  celoso  y  que  arrogante  ! 

Finea  es  boba,  y,  sin  dud  a, 

de  haberle  contado,  naze, 

mis  amores  y  papeles. 

Ya  para  consejo  es  tarde ; 

que  deudas  y  desafios 

a  que  los  honrrados  salen, 

para  tranpas  se  dilatan, 

y  no  es  bien  que  se  dilaten.     [Vai/a 

*  Ruhrica  dc  Lope  de  Vega 

1340 


1345 


1350 


1355 


1360 


[Salgan]  rn  Maestro  de  danzar,  y  Finea. 
Maestro.        f,  Tan  presto  se  cansa  ? 
Finea.  Si. 

Y  no  quiero  danzar  mas. 
Maestro.        Como  no  danza  a  conpas, 
base  enfadado  de  si. 


1365 


LA  DAMA  BOBA 


189 


Finea. 


Maestro. 


Finea. 
Maestro. 
Finea. 
Maestro. 

Finea. 

Maestro. 
Finea. 


Maestro. 

Finea. 
Maestro. 


Finea. 


Por  poeo  diera  de  oeicos 

saltando ;  enfadada  vengo. 

i,  Soy  yo  urraca  que  andar  tengo 

por  cassa  dando  salticos? 

Vn  paso,  otro  contrapaso, 

floretas,  otra  floreta  .  .  . 

i  Q^^e  locura ! 

i  Que  ynperfeta 
cossa,  en  vn  liermoso  vasso 
poner  la  naturaleza 
licor  de  vn  alma  tan  ruda ! 
Con  que  yo  salgo  de  duda 
que  no  es  alma  la  belleza.     [aparte] 
Maestro  .  .  . 

^  Seiiora  mia  t 
Trae  maiiana  vn  tanboril. 
Esse  es  instrumento  vil, 
aunque  de  mucha  alegria. 
Que  soy  mas  afizionada 
al  cascabel,  os  eonfiesso. 
Es  mui  de  caballos  esso. 
Hazed  vos  lo  que  me  agrada, 
que  no  es  mucha  rustiqueza 
el  trahellos  en  los  pies. 
Harto  peor  pienso  que  es 
trahellos  en  la  cabeza. 
Quiero  seguirle  el  humor,     [aparte] 
Yo  hare  lo  que  me  mandays. 
Yd  danzando  quando  os  bays. 
Yo  OS  agradezco  el  fabor, 
pero  llebare  tras  mi 
mucha  gente. 

Vn  pastelero, 
vn  sastre,  y  vn  capatero 
f.lleban  la  gente  tras  si? 


1380 


1385* 


1395 


1400 


190  ACTO  SEGUNDO 

M<i(stro.        Xo:    pci-o  tan  poco  ellos 
1)01-  la  ealle  haziendo  van 

siis  officios. 
Finra.  iKo  i)odraii, 

si  quieren  ? 
Mdistro.  Podran  hazellos; 

(y  yo  no  quiero  danzar. 
[Finea.]         Pnes  no  entreys  aqui. 
Maestro.  No  hare, 

ni  en  mi  vida  bolvere.) 

y  yo  no  quiero  danzar. 
Finca.  Pnes  no  entreys  aqni. 

Maestro.  No  hare. 

Finea.  Ni  quiero  andar  en  vn  pie, 

ni  dar  bueltas  ni  saltar. 
Maestro.        Ni  yo  enseilar  las  que  sueiian 

disparates  atrevidos. 
Finea.  No  ynporta ;  que  los  maridos 

son  los  que  mexor  enseilan. 
Maestro.        i  Han  visto  la  mentecata  1 
Finea.  iQne  es  mentecata,  villano? 

Maestro.        Senora,  tened  la  mano. 

Es  vna  dama  que  trata 

con  grauedad  y  rigor 

a  quien  la  sirbe. 
Finea.  I,  Eso  es  ? 

Maestro.        Puesto  que  buelbe  despues 

con  mas  blandura  y  amor. 
Finea.  ^.  Es  eso  cierto  ? 

Maestro.  ^.Pues  no? 

Finca.  Yo  os  juro.  aunque  nunca  ingrata, 

que  no  ay  mayor  mentecata 

en  todo  el  mundo  que  yo. 
Maestro.        El  creher  es  cortesia  : 

adios,  que  soy  mui  eortes. 


1405 


1410 


1415 


1420 


1425 


LA  DAM  A  BOB  A 


191 


Clara. 
Finea. 


Clara. 

Finea. 

Clara. 
Finea. 

Clara. 

Finea. 


Clara. 


Finea. 
Clara. 


Vayase.  y  enfre  Clara 

I  Danzaste  ? 

I  Ya  no  lo  ves  1 
Persig[u]  enme  todo  el  dia 
con  leer,  con  escriiiir, 
con  danzar,  y  todo  es  nada  ; 
solo  Laurenzio  me  agrada. 
I  Como  te  podre  deeir 
vna  desgracia  notable? 
Hablando ;  porqne  no  ay  cosa 
de  decir  dificultosa 
a  muger  que  viua  y  liable. 
Dormir  en  dia  de  fiesta 
I  es  malo  ? 

Pienso  que  no ; 
aunque  si  Adan  se  durmio, 
buena  costilla  le  cuesta. 
Pues  si  nacio  la  muger 
de  vna  dormida  costilla, 
que  duerma  no  es  marauilla. 
Agora  vengo  a  entender, 
solo  con  esa  aduertenzia, 
porque  se  andan  tras  nosotras 
los  hombres,  y  en  vnas  y  otras 
hazen  tanta  diligenzia ; 
que  si  aquesto  no  es  asilla, 
deben  de  andar  a  buscar 
su  costilla,  y  no  ay  parar 
hasta  topar  su  costilla. 
Luego  si  para  el  que  amo 
vn  aiio  y  dos,  harto  bien 
le  diran  los  que  le  ven, 
que  su  costilla  topo. 
A  lo  menos  los  cassados. 
Sabia  estas. 


1430 


1435 


192  JCTO  HEGVNDO 

Finca.  ApriMido  ya ; 

(|ui'  mo  ensefia  amor  quiza 

coil  lii'iones  de  ciiidados.  Hoo 

Cloro.  Boluicndo  al  ciiento,  Laurenzio 

me  dio  vn  papel  para  ti. 

Pusseme  a  ylar.    ;  Ay  de  mi, 

qiianto  proboca  el  silonzio ! 

Meti  en  el  copo  el  papel,  1465 

y  como  ylaua  al  candil, 

y  es  la  estopa  tan  sutil, 

aprendiose  el  copo  en  el.  * 

Cabezas  ay  disculpadas 

qiiando  duermen  sin  cogines,  1470 

y  sueiios  como  rozines, 

que  vienen  con  cabezadas.  * 

Apenas  el  copo  ardio, 

qnando,  puesta  en  el  de  pies, 

me  chamusque,  ya  lo  ves.  1475 

Finea.  ^Y  el  papel? 

Clara.  Libre  quedo, 

como  el  santo  de  Paxares.  * 

Sobraron  estos  renglones 
en  que  hallaras  mas  razones 

que  en  mi  cabeza  aladares.  1480* 

Finea.  [,  Y  no  se  podran  leer  ? 

Clara.  Toma  y  lee. 

Finca.  Yo  se  poco.  ^ 

Clara.  Dios  libre  de  vn  fuego  loco 

la  estopa  de  la  muger. 

Entre  Otabio 
Otabio.  Yo  pienso  que  me  canso  en  enseiiarla,  1485 

porque  es  querer  labrar  con  bidro  vn  porfido ;  * 

ni  el  danzar  ni  el  leer  aprender  puede, 
aunque  esta  menos  ruda  que  solia. 


LA  DAM  A  BOB  A 


193 


Pinca.  i  0  padre  mentecato  y  generoso, 

bien  seas  venido ! 

Otcibio.  ^  Como  mentecato? 

Finea.  Aqiii  el  maestro  de  danzar  me  dixo 

que  era  yo  mentecata,  y  enojeme ; 
mas  el  me  respondio  que  este  vocablo 
signifieaua  vna  muger  que  riiie, 
y  luego  buelbe  con  amor  notable, 
y  eomo  vienes  tu  riiiendo  agora, 
y  has  de  mostrarme  amor  en  brebe  rato, 
quise  tanbien  llamarte  mentecato. 

Otahio.  Pues  hija,  no  crehays  a  todas  gentes, 

ni  digais  esse  nonbre ;  que  no  es  justo. 

Finea.  No  lo  hare  mas.    Mas  diga,  seiior  padre, 

^sabe  leer? 

Otahio.  ^Pues  esso  me  preguntas? 

Finea.  Tome  por  vida  suya,  y  este  lea. 

Otahio.  I  Este  papel  1 

Finea.  Si,  padre. 

Otahio.  Oye,  Finea. 


1490 


149.J 


1.500 


Lea  an  si 
Agradezco  mueho  la  merzed  que  me  has  echo,  aunque  toda 
esta  noche  la  he  passado  con  poco  sosiego,  pensando  en  tu  her- 
mosura. 

I,  No  ay  mas  ? 

No  ay  mas ;  que  esta  mui  justamente     150-5 

quemado  lo  demas.     i  Quien  te  le  ha  dado  ? 

Laurenzio,  aquel  discreto  caballero 

de  la  academia  de  mi  hermana  Nise,  * 

que  dize  que  me  quiere  con  estremo. 

De  su  ignoranzia  mi  desdicha  temo.  l-^l*^ 

Esto  truxo  a  mi  casa  el  ser  discreta 

Nise,  el  galan,  el  musico,  el  poeta, 

el  lindo,  el  que  se  precia  de  oloroso,  * 

el  afeytado,  el  loco,  y  el  ocioso.     [aparte^ 


Finea. 
Otahio 

Finea. 


Otahio. 


194 


ACrO  SEGUNDO 


iHate  passado  mas  con  este,  acaso? 
Fiiua.  Aver,  on  la  t'scalera,  al  primer  paso 

inc  (lio  vn  a])razo. 
Otahio.  I  En  bnenos  pasos  anda 

mi  i)ol)i-('  honoi-  poi-  vna  y  otra  vanda! 

La  disereta  con  neeios  en  coneetos, 

y  la  boba  en  amores  con  discretos. 

A  esta  no  ay  llebarla  por  eastigo, 

y  mas,  que  lo  podra  entender  su  es])oso.     [apart e 

Hija,  sabed  que  estoy  mui  enojado. 

No  OS  dexeys  abrazar.     ^  Entendeys,  hija  ? 
Finca.  Si,  senor  padre ;  y  cierto  que  me  pesa, 

aunque  me  parezio  mui  bien  entonzes. 
Otahio.  Solo  vuestro  marido  ha  de  ser  digno 

desos  abrazos. 


1520 


1525 


Turin. 
Otahio. 
Turin. 


Otahio. 


Turin. 
Otahio. 


*    Entrc  Turin 

En  tu  busca  vengo. 
feDe  que  es  la  prisa  tanta? 

De  que  al  canpo 
van  a  matarse  mi  seiior  Lisseo  1530 

y  Laurenzio,  ese  hidalgo  marquesote, 
que  desbaneze  a  Nise  con  sonetos. 
^  Que  ynporta  que  los  padres  scan  discretos, 
si  les  f alta  a  los  hijos  la  obedienzia  ? 
Liseo  habra  entendido  la  inprudeneia  1535 

deste  Laurenzio  atreuidillo  y  loco, 
y  que  sirbe  a  su  esposa. — ;  Caso  estrailo ! 
^Por  donde  fueron? 

Van,  si  no  me  engano, 
haeia  los  Recoletos  Agustinos. 

Pues  ven  tras  mi.    \  Que  estranos  desatinos !         1540 
Vayansc  Otahio  y  Turin 


Clara.  Pareze  que  se  ha  enojado 

tu  padre. 


LA  DAM  A  BOB  A  193 

Finea.  ^Que  puedo  hazer? 

Clara.  ^Poi"  tine  le  diste  a  leer 

el  papel  ? 
Finea.  Ya  me  ha  pesado. 

Clara.  Ya  no  piiedes  proseguir  ^^^^> 

la  voluntad  de  Laurenzio. 
Finea.  Clara,  no  la  diferenzio 

con  el  dexar  de  viuir. 

Yo  no  entiendo  como  ha  sido 

desde  que  el  honbre  me  hablo,  l-'''^0 

porque  si  es  que  siento  yo, 

el  me  ha  llebado  el  sentido. 

Si  duermo,  sueiio  con  el, 

si  como,  le  estoy  pensando, 

y  si  bebo,  estoy  mirando  ^^^^ 

en  agua  la  ymagen  del. 

I  No  has  visto  de  que  manera 

muestra  el  espejo  a  quien  mira 

su  rostro,  que  vna  mentira 

le  haze  forma  verdadera?  1^60 

Pues  lo  mismo  en  vidro  miro 

que  el  cristal  me  representa. 
Clara.  A  tus  palabras  atenta, 

de  tus  mudanzas  me  admiro. 

Pareze  que  te  transformas  1565 

en  otra. 
Finea.  En  otro  diras. 

Clara.  Es  maestro  con  quien  mas 

para  aprender  te  conformas. 
Finea.  Con  todo  esso  sere 

obediente  al  padre  mio; 

fuera  de  que  es  desbario 

quebrar  la  palabra  y  fee. 
Clara.  Yo  hare  lo  mismo. 

Finea.  No  ynpidas 

el  camino  que  llebauas. 


1570 


19(5  ACTO  SEGUNDO 

Clara.  ^No  vos  que  ame  porque  amauas,  ^5'5 

y  ohiidare  porque  oluidas? 
Fiuia.  Ilarto  ine  pessa  de  amalle, 

pero  a  ver  mi  daiio  vengo, 

aunque  sospecho  que  tengo 

de  oluidarme  de  oluidalle.  1580 

*     VayaHsc.  y  entrcn  Lissro  y  Lanrenzio.  * 

Laurcncio.    Antes,  Lisseo,  de  sacar  la  espada, 

quiero  saber  la  causa  que  os  obliga. 
Lisco.  Pues  bien  sera  que  la  razon  os  diga. 

Laurcncio.    Lisseo,  si  son  celos  de  Finea, 

mientras  no  se  que  vuestra  esposa  sea,  1585 

bien  puedo  pretender,  pues  fui  primero. 
Liseo.  Disimulays,  a  fee  de  eaballero; 

pues  tan  lexos  llebays  el  pensamiento 

de  amar  vna  muger  tan  inorante. 
Laurcncio.    Antes  de  que  la  quiera  no  os  espante  ;  1590 

que  soy  tan  pobre  como  bien  nazido, 

y  quiero  sustentarme  con  el  dote. 

Y  que  lo  diga  ansi,  no  os  alborote, 
pues  que  vos,  dilatando  el  casamiento, 

haueys  dado  mas  fuerzas  a  mi  yntento ;  1595 

y  porque,  quando  llegan  obligadas 

a  desnudarse  en  canpo  las  espadas, 

se  ban  de  tratar  verdades  llanamente ; 

que  es  honbre  vil  quien  en  el  canpo  miente. 
Lisco.  (Y)  ^luego  no  querej's  bien  a  Nise? 

Laurcncio.  A  Nise      1600* 

yo  no  puedo  negar  que  no  la  quise, 

mas  su  dote  seran  diez  mil  ducados,. 

y  de  quarenta  a  diez,  ya  beys,  van  trej'nta. 

Y  pase  de  los  diez  a  los  quarenta. 

Liseo.  Siendo  esso  ansi,  como  de  bos  lo  creo,  1605 

estad  seguro  que  xamas  Lisseo 
OS  quite  la  esperanza  de  Finea ; 


LA  DAMA  BOBA  197 

que  auiiqiie  no  es  la  ventura  de  la  fea,  * 

sera  de  la  ygnorante  la  ventura, 

que  asi  Dios  me  la  de,  que  no  la  quiero,  1610 

pues  desde  que  la  vi  por  Nise  muero. 
Lauvencio.    ^ Por  Nise? 
Liseo.  Si,  por  Dios. 

Laurencio.  Pues  vuestra  es  Nise, 

y  con  la  antiguedad  que  yo  la  quise, 

yo  OS  doy  sus  esperanzas  y  fabores. 

Mis  desseos  os  doy,  y  mis  amores,  1615 

mis  ansias,  mis  serenos,  mis  desbelos, 

mis  versos,  mis  sospechas,  y  mis  celos. 

Entrad  con  esta  rumfla,  y  dalde  pique ;  * 

que  no  hara  mucho  en  que  de  vos  so  picpie.  * 

Liseo.  Aunque  eon  cartas  tripuladas  jueg[u]p,  1620* 

aceto  la  merzed,  seilor  Laurenzio, 

que  yo  soy  rico,  y  eonprare  mi  gusto. 

Nise  es  discreta,  yo  no  quiero  el  oro ; 

hazienda  tengo,  su  belleza  adoro. 
Laurencio.    Hazeys  mui  bien,  que  yo,  que  soy  tan  jjobre,      1625 

el  oro  solicito  que  roe  sobre ; 

que  aunque  de  entendimiento  lo  es  Finea, 

yo  quiero  que  en  mi  casa  alhaja  sea. 

^No  estan  las  escrituras  de  vna  renta 

en  vn  caxon  de  vn  escritorio,  y  rinden  1630 

aquello  que  se  come  todo  el  aiio ; 

no  esta  vna  casa  principal  tan  firme 

como  de  piedra,  al  fin,  yeso  y  ladrillo, 

y  renta  mil  ducados  a  su  dueiio? 

Pues  yo  hare  cuenta  que  es  Finea  vna  cassa,        1635 

vna  eseritura,  vn  censo,  y  vna  viiia, 

y  serame  vna  renta  con  vasquiiia. 

Demas,  que  si  me  quiere,  a  mi  me  basta ; 

que  no  ay  mayor  yngenio  que  ser  casta. 
Liseo.  Yo  os  doy  palabra  de  ayudaros  tanto,  ^640 

que  venga  a  ser  tan  vuestra  conio  creo. 


198 


ACTO  SEGUNDO 


Lauvcncio.    Y  yo  con  Nise  luii-c,  poi-  Dios,  Lisseo, 

lo  (lue  vereys. 
Lisco.  Plies  (Iciiionos  las  manos 

de  ainij^os,  no  fingidos  eortesanos, 

sine  conio  si  fiierainos  de  Greoia,  1645* 

adonde  tauto  el  amistad  se  preeia. 
Laurcncio.    Yo  sere  vuestro  Pilades. 
Lisco.  Yo   Orestes. 

*      Entrc  Otahio  ij  Turin 
Otahio.         ^Son  estos? 
Turin.  Ellos  son. 

Otahio.  i,Y  esto  es  pendenzia? 

TuHn.  Conozieron  de  lexos  tu  pressenzia. 

Otahio.  Caballeros  .  .  . 

Liseo.  Senor,  seays  bienvenido.  1650 

Otahio.  [,  Que  hazeys  aqui  ? 

Liseo.  Como  Laurenzio  ha  sido 

tan  grande  amigo  mio  desde  el  dia 

que  vine  a  vuestra  cassa,  o  a  la  mia, 

venimonos  a  ver  el  canpo  solos, 

tratando  nuestras  cossas  yguahnente.  1^55 

Otahio.  Desa  amistad  me  huelgo  estraiiamente. 

Aqui  vine  a  vn  jardin  de  vn  grande  amigo, 

y  me  holgare  de  que  bolbays  conmigo. 
Liseo.  Sera  para  los  dos  merzed  notable. 

Laurencio.    Vamos  aconpanaros  y  seruiros.  1660* 

Otahio.  Turin,  ^por  que  razon  me  has  enganado? 

Turin.  Porque  deben  de  haber  disimulado, 

y  porque,  en  fin,  las  mas  de  las  pendenzias 

mueren  por  madurar ;  que  a  no  ser  esto, 

no  hubiera  mundo  ya. 
Otahio.  Pues  di,  ^,  tan  presto      1665 

se  pudo  remediar? 
Turin.  6  Que  mas  remedio 

de  no  reiiir,  que  estar  la  vida  en  medio? 


LA  DAMA  BOBA 


199 


*     [Vajjanse,  ij  salgan]  Nise  rj  Finca. 

Nise.  De  suerte  te  has  engreydo, 

que  te  voy  desconoziendo. 
Finca.  De  que  eso  digas  me  ofendo. 

Yo  soy  la  que  sienpre  he  sido. 
Nise.  Yo  te  vi  menos  discreta. 

Finca.  Y  yo  mas  segura  a  ti. 

Nise.  I  Quien  te  va  troeando  ansi  ? 

I  Quien  te  da  licion  secreta  ? 

Otra  meraoria  es  la  tuya. 

^Tomaste  la  anaeardina? 
Finca.  Ni  de  Ana  ni  Catalina 

he  tornado  licion  suya. 

Aquella  que  ser  solia 

soy,  porque  solo  e  mudado 

vn  poco  de  mas  euidado. 
Nise.  i,  No  sabes  que  es  prenda  mia 

Laurenzio  ? 
Finea.  ^  Quien  te  enpeilo 

a  Laurenzio? 
Nise.  Amor. 

Finea.  lA.  fee? 

Pues  yo  le  desenpeiie, 

y  el  misrao  amor  me  le  dio. 
Nise.  Quitarete  dos  mil  vidas, 

boba  dichosa. 
Finea.  No  creas 

que  si  a  Laurenzio  desseas, 

de  Laurenzio  te  diuidas. 

En  mi  vida  supe  mas 

de  lo  que  el  me  ha  dicho  a  mi. 

Esso  se,  y  eso  aprendi. 
Nise.  Mui  aprobechada  estas. 

Mas  de  oy  mas  no  ha  de  pasarte 

por  el  pensamiento. 
Finea.  ^  Quien? 


1670 


1675 


1680 


168.3 


]690 


1695 


200  ACTO  SEGUNDO 


Nisc. 

Laurcn/io. 

Finra. 

Dizt's  iiiui  bicu 

110  bolberas  a  qiiexarte. 

Nisc. 

Si  los  ojos  piisso  en  ti, 

({uitelos  hiego. 

Finra. 

Quo  sea 

coino  til  quieres. 

Xisc. 

Finea, 

dexame  a  Laurenzio  a  mi ; 

marido  tienes. 

Finra. 

Yo  creo 

que  no  rinainos  las  dos. 

Nise. 

Quedate  con  Dios. 

Finea. 

Adios. 

1700 


1705 


*     Vaijasr  Nise,  y  cut  re  Laurenzio. 

i  En  que  eonfussion  nie  veo ! 

I.  Ay  muger  mas  desdichada? 

Todos  dan  en  perseguirnie. 
Laurencio.    Detente  en  vn  punto  firme,  1710 

Fortuna  veloz  y  ayrada, 

que  ya  pareze  que  quieres 

ayudar  mi  pretension. 

;0  que  gallarda  ocasion !     [aparte] 

I  Eres  tu,  mi  bien  ? 
Finea.  No  esperes,  1715 

Laurenzio,  verme  xamas. 

Todos  me  riiien  por  ti. 
Laurencio.    Pues  ^que  te  ban  dicbo  de  mi? 
Finea.  Esso  agora  lo  sabras. 

^,  Donde  esta  mi  pensamiento?  1720 

Laurencio.    <,  Tu  pensamiento? 
Finea.  Si. 

iMurencio.  En  ti : 

porque  si  estuuiera  en  mi, 

yo  estuuiera  mas  contento. 


LA  DAMA  BOBA 


201 


Finea.  ^Vesle  tu? 

Laurencio.  Yo  no,  xamas. 

Finea.  Mi  herniana  me  dixo  aqui, 

que  no  has  de  passarme  a  mi 

por  el  pensamiento  mas. 

Por  esso  alia  te  desbia, 

y  no  me  passes  por  el. 
Laurencio.    Piensa  que  yo  estoy  en  el, 

y  hecharme  fuera  querria.     [aparte] 
Finea.  Tras  esto  dize,  que  en  mi 

pusiste  los  ojos. 
Laurencio.  Dize 

verdad ;  no  lo  contradize 

el  alma  que  viue  en  ti. 
Finea.  Pues  tu  me  has  de  quitar  luego 

los  ojos  que  me  pusiste. 
Laurencio.    i  Como,  si  en  amor  eonsiste? 
Finea.  Que  me  los  quites,  te  ruego, 

con  ese  lienzo  de  aqui, 

si  yo  los  tengo  en  mis  ojos. 
Laurencio.  No  mas:  cessen  los  enojos. 
Finea.  |,No  estan  en  mis  ojos? 

Laurencio.  Si. 

Finea.  Pvies  linpia  y  quita  los  tuyos; 

que  no  han  de  estar  en  los  mios. 
Laurencio.    [Que  graciosos  desbarios! 
Finea.  Ponlos  a  Nise  en  los  suyos. 

Laurencio.    Ya  te  linpio  con  el  lienzo. 
Finea.  ^  Quitastelos  ? 

Laurencio.  ^No  lo  ves? 

Finea.  Laurenzio,  no  se  los  des ; 

que  a  sentir  penas  comienzo. 

Pues  mas  ay ;  que  el  padre  mio 

brabamente  se  ha  enojado 

del  abrazo  que  me  has  dado. 
Laurencio.    Mas  ^que  ay  otro  desbario?     [aparte] 


1725 


1735 


1745 


1755 


202 


ACTO  SEGUNDO 


FiiK  (I. 

Lauvcncio. 
FiiK  a. 

Laurcncio. 


Finca. 
Laurcncio. 


Tiiiiliicii  iiic  Ic  lias  (Ic  (juitar. 
Xo  ha  de  renirnie  por  csto. 
I  Coino  ha  de  ser  ? 

Siendo  presto. 
iNo  sabes  desabrazar? 
El  brazo  derecho  alge, 
— tienes  razon,  ya  me  acnerdo — 
y  agora  aloare  el  izquierdo, 
y  el  abrazo  desare. 
^,  Estoy  ya  desabrazada? 
I,  No  lo  ves  ? 


*  Nise  cut  re 

Nise.  Y  yo  tanbien. 

Finca.  Hnelgome,  Nise,  tan  bien, 

que  ya  no  me  diras  nada  ; 

3^a  Laurencio  no  me  passa 

por  el  pensamiento  a  mi ; 

ya  los  ojos  le  bolui, 

j:)nes  que  contigo  se  cassa. 

En  el  lienzo  los  llebo, 

y  ya  me  ha  desabrazado. 
Laurcncio.    Tu  sabras  lo  que  ha  passado 

con  harta  risa. 
Nise.  Aqui  no : 

bamos  los  dos  al  jardin ; 

que  tengo  bien  que  riiiamos. 
Laurcncio.    Donde  tu  quisieres  bamos. 

*  Vayanse  Laurcnzio  y  Nise 

Finca.  Ella  se  le  lleba  en  fin. 

l  Que  es  esto  que  me  da  pena 
de  que  se  baya  con  el  ? 
Estoy  por  yrme  tras  el. 
I  Que  es  esto  que  me  enagena 
de  mi  propia  libertad  ? 


17G0 


1770 


LA  DAM  A  BOB  A  203 

No  me  hallo  sin  Laurenzio.  1785 

Mi  padre  es  este  ;  silenzio, 
callad,  lengua;  ojos,  hablad. 

*  Otahio  entre 

Otahio.  ^Adonde  esta  tu  esposo? 

Finca.  Yo  peiisaua 

que  lo  primero  en  viendome  que  hizieras, 

fuera  saber  de  mi  si  te  obedezco.  1790 

Otahio.  Pues  ^eso  a  qne  proposito? 

Finca.  ^:  Enojado 

no  me  dixiste  aqni  qne  era  mal  echo 

abrazar  a  Laurenzio?    Pues  agora 

que  me  desabrazasse  le  he  rogado, 

y  el  abrazo  passado  me  ha  quitado.  1795 

Otahio.  ^  Ay  cosa  semejante?    Pues  di,  bestia, 

^,otra  vez  le  abrazauas? 
Finea.  Que  no  es  eso: 

fue  la  primera  vez  alcado  el  brazo 

derecho  de  Laurenzio  aquel  abrazo, 

y  agora  lebanto,  que  bien  me  aeuerdo,  1800 

porque  fuesse  al  rebes,  el  brazo  yzquierdo. 

Luego  desabrazada  estoy  agora. 
Otahio.  Quando  pienso  que  sabe,  mas  ygnora. 

Ello  es  querer  hazer  lo  que  no  quiso 

naturaleza.     [apart  e] 
Finca.  Diga,  senor  padre,  1805 

^como  llaman  aquello  que  se  siente, 

quando  se  va  con  otro  lo  que  se  ama  ? 
Otahio.  Esse  agrauio  de  amor  eelos  se  llama. 

Finca.  ^Qelos? 

Otahio.  Pues  pio  lo  ves  que  son  sus  hijos?  *. 

Finca.  El  padre  puede  dar  mil  regozijos,  1810 

y  es  mui  onbre  de  bien ;  mas  desdichado 

en  que  tan  malos  hijos  ha  criado. 
Otahio.  Luz  va  tiniendo  ya  pienso ;  que  bien  pienso,  * 


204 


ACTO  SEGUNDO 


(jiu'  si  amor  la  ensenase,  aprenderia.     \aparte 
Finca.  j  Con  que  se  quita  el  mal  de  celosia  ? 

Otabio.  Con  desenamorarse,  si  ay  agrabio, 

que  es  el  remedio  mas  prudente  y  sabio; 

que  mientras  ay  amor  ha  de  haber  eelos, 

pension  que  dieron  a  este  bien  los  eielos. 

^Adonde  Nise  esta? 
Finea.  Junto  a  la  fuente. 

Con  Laurenzio  se  fue. 
Otabio.  i  Cansada  eosa  ! 

Aprenda  normala  a  hablar  su  prosa  ; 

dexesse  de  sonetos  y  canziones. 

Alia  voy  a  rronperles  las  razones. 
*  Vayase 


1815^ 


1820 


Finea.  [,  Por  quien  en  el  mundo  passa 

esto  que  passa  por  mi  ? 
^  Que  vi  denantes  ?    [,  Que  vi 
que  assi  me  enciende  y  me  abrasa 
Celos  dize  el  padre  mio 
que  son.    j  Braba  enfermedad  ! 


1830 


*        Entre  Laurenzio 

Lanrencio.    Huyendo  su  autoridad, 
de  enojarle  me  desbio, 
aunque  en  parte  le  agradezco 
que  estorbasse  los  enojos 
de  Nisse.    Aqui  estan  los  ojos 
a  cuyos  rayos  me  ofrezco.     [apartc] 
Seilora  .  .  . 

Finea.  Estoy  por  no  hablarte. 

i,  Como  te  fuiste  con  Nise  ? 

Laurencio.    No  me  fui  porque  yo  quise. 

Finea.  Pues  ^. por  que? 

Laurencio.  Por  no  enojarte. 


1835 


1840 


LA  DAM  A  BOB  A 


20r 


Finea. 


Laurencio. 
Finea. 


Laurencio. 
Finea. 

Laurcncia. 

Finea. 

Laurencio. 


Pesame  si  no  te  veo, 
y  en  viendote  ya  querria 
que  te  fuesses,  y  a  porfia 
anda  el  temor  y  el  desseo. 
Yo  estoy  celosa  de  ti ; 
que  ya  se  lo  que  son  celos, 
qiie  su  dure  nonbre  [  ay  cielos ! 
me  dixo  mi  padre  aqui. 
Mas  tanbien  me  dio  el  remedio. 
i  Qual  es  ? 

Desenamorarme ; 
porque  podre  sosegarme, 
quitando  el  amor  de  en  medio. 
Pues  I  esso  como  ha  de  ser  ? 
El  que  me  puso  el  amor 
me  le  quitara  mexor. 
Vn  remedio  suele  haber. 
&Qual? 

Los  que  vienen  aqui 
al  remedio  ayudaran. 


1850 


1855 


*     Entrcn  Pedro,  Duarelo  y  Feniso 

Pedro.  Finea  y  Laurenzio  estan 

juntos. 

Feniso.  Y  el  fuera  de  si. 

Laurencio.    Seays  los  tres  vien  benidos 
a  la  ocasion  mas  gallarda 
que  se  me  pudo  ofrezer. 
Y  pues  de  los  dos  el  alma 
a  sola  Nise  discreta 
ynclina  las  esperanzas, 
oyd  lo  que  con  Finea 
para  mi  remedio  passa. 

Dueirdo.         En  esta  eassa  pareze, 

segun  por  los  ayres  andas, 
que  te  ha  dado  echizos  Qirce. 


1860 


1865 


1870* 


ACTO  SEGUNDO 


Nunea  sales  desta  cassa. 

Laur<  vein.    Yo  voy  eon  mi  pensamiento, 
luiziciulo  vna  rica  traza 
para  hazer  oro  do  akpiiinia. 

Pedro.  La  sahid  y  el  tieinpo  gastas. 

Ygual  seria,  sefior, 
cansarte,  pues  todo  cansa 
de  pretender  ynposibles. 

Laurencio.    Calla,  necio. 

Pedro.  El  nonbre  basta, 

para  no  callar  xamas  ; 
que  nunca  los  necios  callan. 

Laurencio.    Aguardadme  mientras  bablo 
a  Finea. 

Duardo.  Parte. 

Laureneio.  Hablaiia, 

Finea  hermosa,  a  los  tres, 
para  el  remedio  que  aguardas. 

Finea.  Quitame  presto  el  amor 

que  con  sus  celos  me  mata. 

Laurencio.    Si  dizes  delante  destos 
como  me  das  la  palabra 
de  ser  mi  esposa  y  muger, 
todos  los  celos  se  aeaban. 

Finea.  i Eso  no  mas?    Yo  lo  hare. 

Laurencio.    Pues  tu  misma  a  los  tres  llama. 

^Finea.         Feniso,  Duardo,  Pedro  .  .  . 

Los  Tres.      Seiiora  .  .  . 

Finea.  Yo  doy  palabra 

de  ser  esposa  y  muger 
de  Laurenzio. 

Duardo.  \  Cosa  estraiia  ! 

Laurencio.    ^Soys  testigos  desto? 

Los  Tres.  Si. 

Laurencio.    Pues  haz  cuenta  que  estas  sana 
del  amor  y  de  los  celos 
que  tanta  pena  te  daban. 


1875 


1880 


18S5 


1890 


1895 


1900 


LA  DAM  A  BOB  A 


Fine  a.  Dios  te  lo  pag[u]e,  Lanreiizio. 

Laurcncio.  Venid  los  tres  a  mi  casa  ; 

que  tengo  vn  notario  alii. 

Peniso.  Piies  ^  con  Finea  te  cassas  ? 

Laure7icio.  Si,  Feniso. 
Feniso.  i  Y  Nise  bella  ? 

Laurcncio.  Troqiie  discrezion  por  plata. 

*     [Vayanse  Laurcnzio,  Feniso,  Duardo  y  Pedro,  y] 
ciuedc  Finea  sola,  y  entren  Nise  y  Otahio 
Nise.  Hablando  estaua  con  el 

cossas  de  poca  inportanzia. 
Otahio.  Mira,  hija,  que  estas  cosas 

mas  desonor  que  onor  causan. 
Nise.  Es  vn  onesto  mancebo 

que  de  buenas  letras  trata, 

y  tengole  por  maestro. 
Otaljio.  No  era  tan  bianco  en  Granada 

Juan  Latino,  que  la  hija 

de  vn  Beyntiquatro  enseiiaua  ; 

y  siendo  negro  y  esclauo, 

porque  fue  su  madre  esclaua 

del  claro  duque  de  Seso, 

honor  de  Espaiia  y  de  Ytalia, 

se  vino  a  cassar  con  ella: 

que  gramatica  estudiaua, 

y  la  enseno  a  conjugar 

en  llegando  al  amo,  amas; 

que  asi  llama  el  matrimonio 

el  latin. 
Nise.  Deso  me  guarda 

ser  tu  hija. 
Finea.  ^Murmurays 

de  mis  cosas? 
Otahio.  ^Aqui  estaua 

esta  loca  ? 


1905 


1910 


1915 


3920 


1930 


AC  TO  SEGUNDO 


Fitx  a. 
Otahio. 
Finca. 


Otabio. 
Finca. 


OtaMo. 

Nise. 

Fine  a. 
Otahio. 
Nise. 


Otahio. 
Finea. 

Otahio. 

Finea. 

Otahio. 


Ya  no  I's  liempo 
dc  iH-riiniio. 

/.  Quicii  te  liabla? 
l-  Quit'ii  te  rifie  ? 

Nise  y  tu. 
Pues  sepan  que  agora  aeaba 
de  quitarme  el  amor  todo 
Laurenzio,  eomo  la  palma. 
Ay  alguna  boberia.     [aparte] 
Dixoine  que  se  quitaua 
el  amor  eon  que  le  diese 
de  su  muger  la  palabra, 
y  delante  de  testigos 
se  la  he  dado,  y  estoy  sana 
del  amor  y  de  los  celos. 
Esto  es  eosa  temeraria. 
Esta,  Nise,  ha  de  quitarme 
la  vida. 

^Palabra  dabas 
de  muger  a  ningun  onbre  ? 
^,No  sabes  que  estas  eassada? 
Para  quitarme  el  amor 
I  que  ynporta  ? 

No  entre  en  mi  casa 
Laurenzio  mas. 

Es  error, 
porque  Laurenzio  la  engana; 
que  el  y  Liseo  lo  dizen 
no  mas  de  para  enseiiarla. 
Desa  manera  yo  callo. 
I  0  !    pues  con  esso  nos  tapa 
la  boea  .  .  . 

Vente  eonmigo. 
I,  Adonde  ? 

Donde  te  aguarda 
vn  notario. 


1935 


1940 


1945 


1950 


1955 


LA  DAM  A  BOB  A  209 


Finea.  Bamos. 

Otahio.  Yen. 

i  Que  descanso  de  mis  canas!     [apartc] 

*     [Vojjansc  Otahio  y  Finea] 

Nise  sola 
Nise.  Hame  contado  Laurenzio 

que  han  tornado  aquesta  traza 
Lisseo  y  el,  para  ver 
si  aqiiella  rudeza  labran, 
y  no  me  pareze  nial. 


1965 


*  Lisseo  entre 

Liseo.  ^.  Hate  contado  mis  ansias 

Laurenzio,  discreta  Nise? 
Nise.  I  Que  me  dizes  ?    ^  Sueiias  o  hablas  ? 

Liseo.  Palabra  me  dio  Laurenzio 

de  ayudar  mis  esperanzas,  1970 

viendo  que  las  pongo  en  ti. 
Nise.  Pienso  que  de  hablar  te  cansas 

con  tu  espossa,  o  que  se  enbota 

en  la  dureza  que  labras 

el  cucbillo  de  tu  gusto,  1975 

y  para  bolber  a  hablarla, 

quieres  darle  vn  filo  en  mi.  ^ 

Liseo.  Verdades  son  las  que  trata 

eontigo  mi  amor,  no  burlas. 
Nise.  ^,Estasloco? 

Liseo.  Quien  pensaua  1980 

eassarse  con  quien  lo  era, 

de  pensarlo  ha  dado  causa  ; 

yo  be  mudado  pensamiento. 
Nise.  i  Que  necedad,  que  yneonstanzia, 

que  locura,  error,  trayzion 

a  mi  padre,  y  a  mi  hermana ! 

Yd  en  buen  ora,  Lisseo. 


19So 


:io 


AC  TO  SEGUNDO 


Lis(().  jDesa  inaiifra  inr  i)aga.s 

tan  dosatiiiado  amor? 
Nisc.  Piu'S  si  I'S  desatiiio,  l)asta. 

*  E litre  Laurenzio 
Lauvcncio.    Ilablando  estan  los  dos  solos. 

Si  Liseo  se  declara, 
Nise  ha  de  saber  tanbien 
que  mis  lisonjas  la  engaiian. 
Creo  que  me  ha  visto  ya.     [apartc] 
Nise.  j  0  gloria  de  mi  esperanza  ! 

*  Nise  dizc  corno  que  hahla  con  Lisseo 
Liseo.  i,Yo  vuestra  gloria,  seiiora? 

Nise.  Aunque  dizen  que  me  tratas 

con  trayzion,  yo  no  lo  creo ; 

que  no  lo  consiente  el  alma. 
Liseo.  i  Trayzion,  Nise  ?    Si  en  mi  vida 

mostrare  amor  a  tu  hermana, 

me  mate  vn  rayo  del  eielo. 
Lourcncio.    Es  conmigo  con  quien  habla 

Nise,  y  presume  Liseo 

que  le  requiebra  y  regala.     [apart e] 
Nise.  Quierome  quitar  de  aqui, 

que  con  tal  fuerza  me  engafia 

amor,  que  dire  locuras. 
Liseo.  No  os  bays,     ;  0  Nise  gallarda  ! 

que  despues  de  los  fabores 

quedara  sin  vida  el  alma. 
Nise.  Dexadme  passar  .  .  .     [Entrese  Nise] 

Liseo.  I,  Aqui 

estauas  a  mis  espaldas? 
Laurencio.    Agora  entre. 
Liseo.  Luego  a  ti 

te  hablaua,  y  te  requebraua, 

aunque  me  miraua  a  mi 

aquella  discreta  yngrata. 


1990 


1995 


2000 


2005 


2010 


2015 


LA  DAM  A  BOB  A 


211 


Laurencio.    No  tengas  pena  :    las  piedras 
ablanda  el  curso  del  agua. 
Yo  sabre  hazer  que  esta  noche 
puedas  en  mi  nonbre  hablarla. 
Esta  es  discreta,  Lisseo; 
no  podras,  si  no  la  engaiias, 
quitalla  del  pensamiento 
el  ynposible  que  aguarda ; 
porque  yo  soy   de  Finea. 

Liseo.  Si  mi  remedio  no  trazas, 

cuentame  loco  de  amor. 

Laurencio.    Dexame  el  remedio,  y  calla  ; 
porque  burlar  vn  discreto, 
es  la  vitoria  mas  alta. 
Fin  del  segunelo  acto  de  la  Dama  hoha 
Ruhrica  de  Lope  de  Vega 


2020 


2025 


2030 


212 


ACTO  TEBCEEO 


TERCERO  ACTO  1)E  LA  DAMA  BOBA 
Kuhrica  dc  Lope  de  Vega 

LOS  qVV.  HABLAN  EN  EL  TERCERO  ACTO 
Finca 
Clara 
Nise 
Liseo 
Pedro 
Laurenzio 
Turin 
]\Ii.sseno 
Duardo 
Fenisso 
Celia 
Otabio 
Los  JMnsicos 

Ruhrica  de  Lope  de  Vega 

ACTO  TERCERO 

Finea  sola 
[Finca]         ;  Amor,  diuiiia  inuenzion 
de  eonseriiar  la  belleza 
de  niiestra  naturaleza, 
0  aceidente,  o  eleccion ! 
Estranos  effetos  son 
los  que  de  tu  cieneia  nazen, 
pues  las  tinieblas  desazen, 
pues  hazen  hablar  los  mudos, 
pues  los  ingenios  mas  rudos 
sabios  y  discretos  hazen. 
No  ha  dos  messes  que  viuia 


2(?S5 


LA  DAMA  BOBA  213 


a  las  bestias  tan  ygual, 

que  aun  el  alma  razional 

pareze  que  no  tenia. 

Con  el  animal  sentia, 

y  crezia  eon  la  planta; 

la  razon  diuina  y  santa 

estaua  eclipsada  en  mi, 

hasta  que  en  tus  rayos  vi, 

a  cuyo  sol  se  lebanta. 

Tu  desataste  y  ronpiste  ~[ 

la  escuridad  de  mi  ingenio, 

tu  fuiste  el  diuino  genio 

que  me  enseiiaste,  y  me  diste 

la  luz  con  que  me  pusiste 

el  nuebo  ser  en  que  estoy. 

Mil  gracias,  amor,  te  doy, 

pues  me  ensenaste  tan  bien, 

que  dizen  quantos  me  ven 

que  tan  diferente  soy. 

A  pura  ymaginazion 

de  la  fuerza  de  vn  desseo, 

en  los  palaeios  me  veo 

de  la  diuina  razon. 

j  Tanto  la  contenplazion 

de  vn  bien  pudo  lebantarme  ! 

Ya  puedes  del  grado  onrrarme, 

dandome  a  Laurenzio,  amor, 

eon  quien  pudiste  mexor 

enamorada  enseiiarme. 

*    [Saiga]  Clara 
Clara.  En  grande  co[n]uersacion 

estan  de  tu  entendimiento. 
Finea.  Huelgome  que  este  content© 

mi  padre  en  esta  ocasion. 
Clara.  Hablando  esta  con  Miseno 


2045 


2050 


2055 


2060 


2065 


2070 


2075 


-1^  ACTO   rEECEBO 

do  coino  lees,  eseriues 

y  danzas ;  dize  (|ne  vines 

con  otra  alma  cii  cuci-po  ageno.  2080 

Atribiiyele  al  amor 

de  Lisseo  estc  milagro. 
Fin  CO.  En  otras  aras  consagro 

mis  botos,  Clara,  niexor. 

Lanrenzio  lia  sido  el  maestro.  2085 

Clara.  Como  Pedro  lo  fne  mio. 

Finea.  De  verlos  hablar  me  rio 

en  este  milagro  uuestro. 

Gran  fuerza  tiene  el  amor, 

eatredatico  diuino.  2090* 

*     [Saiga }t]Misc no  ij  Ofauio 
Miscno.  Yo  pienso  que  es  el  camino 

de  sn  remedio  mexor. 

Y  ya,  pues  liabeys  llegado 

a  ver  con  entendimiento 

a  Finea,  que  es  contento  2095 

nunea  de  vos  esperado, 

a  Nise  podeys  cassar 

con  este  mozo  gallardo. 
Otahio.  Vos  solamente  a  Duardo  * 

pudierades  abonar.  2ioo 

Mozuelo  me  parezia 

destos  que  se  desbauezen, 

a  quien  agora  enloquezen  "^ 

la  arroganzia  y  la  poesia. 

No  son  gracias  de  marido  2105 

sonetos;  Nise  es  tentada 

de  academica  endiosada  * 

que  a  casa  los  ha  trahido. 

fe  Quien  le  mete  a  vna  muger 

eon  Petrarca  y  Garcilaso,  2110* 

siendo  su  Virgilio  y  Taso  * 


LA  DAM  A  BOB  A  215 

ylar,  labrar  y  eoser  ? 

Ayer  sus  librillos  vi, 

papeles  y  escritos  varies ; 

pense  que  debozionarios,  -''•'' 

y  desta  siierte  lehi : 

Historia  de  dos  amantes,  * 

sacada  de  lengua  griega ; 

Rimas  de  Lope  de  Vega,  * 

Galatea  de  Qerbantes,  2120* 

el  Camoes  de  Lisboa,  * 

los  Pastores  de  Belen,  * 

Comedias  de  don  Guillen  * 

de  Castro,  Liras  de  Ochoa,  * 

Canzion  que  Luis  Velez  dijo  2125* 

en  la  Academia  del  duque  * 

de  Pastrana,  Obras  de  Luque,  * 

Cartas  de  don  Juan  de  Arguijo,  * 

cien  Sonetos  de  Lilian,  * 

Obras  de  Herrera  el  diuino,  2130* 

el  Libro  del  Peregrino,  * 

y  el  Picaro  de  Aleman.  * 

Mas  que  os  canso,  por  mi  vida  ; 

que  se  los  quise  quemar. 

Miscno.  Cassalda,  y  vereysla  estar  2i3o 

ocupada  y  diuertida 
en  el  parir  y  el  criar. 

Otabio.  \  Que  gentiles  debociones ! 

Si  Duardo  haze  canziones, 
bien  los  podemos  cassar.  ■  2140 

Miseno.         Es  poeta  caballero; 

no  teniays :   hara  por  gusto 
versos. 

Otahio.  Con  mucho  disgusto 

los  de  Nise  considero. 

Temo,  y  en  razon  lo  fundo,  214o 

si  en  esto  da,  que  ha  de  haber 


21()  ACTO  TEBCERO 

vii  doii  Quixote  iimgcr 

(\\u'  (le  que  reyr  al  muiulo. 
*    Euirni  Lisseo  y  Nis(    [ij  Turhi] 
Li.'^ro.  Tratasme  con  tal  desden, 

que  pienso  que  he  de  apelar  2io0 

adonde  sepan  tratar 

mis  obligaziones  bien. 

Pues  aduierte,  Nise  bella, 

que  Finea  ya  es  sagrado ; 

que  vn  amor  tan  desdefiado  -l-'jS 

puede  hallar  remedio  en  ella. 

Tu  desden  que  ymagine 

que  pudiera  ser  menor, 

creze  al  passo  de  mi  amor, 

medra  al  lado  de  mi  fee.  2160 

Y  su  corto  entendimiento 

ha  llegado  a  tal  mudanza, 

que  puede  dar  esperanza 

a  mi  loco  pensamiento. 

Pues,  Nise,  tratame  bien,  2165 

o  de  Finea  el  fabor 

sera  sala,  en  que  mi  amor  ^ 

apele  de  tu  desden. 
Nise.  Lisseo,  el  hazerme  fieros 

fuera  bien  considerado,  2170 

quando  yo  te  hubiera  amado. 
Liseo.  Los  nobles  y  caballeros 

como  yo  se  han  de  estimar, 

no  lo  yndigno  de  querer. 
Nise.  El  amor  se  ha  de  tener  2175 

adonde  se  puede  hallar ; 

que  como  no  es  eleccion,  ^ 

sino  solo  vn  accidente, 

tienese  donde  se  siente, 

no  donde  fuera  razon.  21S0 

El  amor  no  es  calidad, 


LA  DAMA  BOBA  21^ 

sino  estrellas  que  conciertan  * 

las  voluntades  que  aciertan 

a  ser  vna  voluntad. 
Liseo.  Esso,  seilora,  no  es  justo,  2185 

y  no  lo  digo  con  zelos ; 

que  pongays  culpa  a  los  cielos 

de  la  baxeza  del  gusto. 

A  lo  que  se  haze  mal, 

no  es  bien  dezir:   "fue  mi  estrella."  2190 

Nise.  Yo  no  pongo  culpa  en  ella, 

ni  en  el  curso  celestial, 

porque  Laurenzio  es  vn  hombre 

tan  hidalgo  y  caballero 

que  puede  honrrar  .  .  . 
Liseo.  Paso. 

Nise.  Quiero  2195 

que  rebereneieys  su  nonibre. 
Liseo.  A  no  estar  tan  cerca  Otabio  .  .  . 

Otahio.  I  0  Liseo  ! 

Liseo.  I  0  mi  senor ! 

Nise.  i  Que  se  ha  de  tener  amor 

por  fuerza,  notable  agrabio !     [aparte]  2200 

*  Entre  Celia 

Celia.  El  maestro  de  danzar 

a  las  dos  llama  a  lizion. 
Otahio.  El  viene  a  buena  ocasion. 

Baya  vn  criado  a  llamar 

los  musicos,  porque  vea  2205 

Misseno  a  lo  que  ha  llegado 

Finea. 
Liseo.  Amor,  enganado, 

oy  bolbereys  a  Finea ; 

que  muchas  vezes  amor, 

disfrazado  en  la  benganza,  2210 

haze  vna  justa  mudanza 


JCTO   TEI!(Ki:0 


('<  lia. 


(Icsdc  vn  (lesdcii  n  vii  fabor.     \(t parte] 
Los  imisicos  V  el  vciiian. 


*     Hnfr(  n  I  as  niKsicos 

Otabio.  Miii  l)i("ii  vf^nidos  seays. 

Lisro.  ( )y.  pciisaiiiieiitos,  vengays 

los  agrainos  que  os  liaziaii.     \(i parte] 
Otabio.  Nise  y  Finea  .  .  . 

Nise.  Sen  or  .  .  . 

[Otabio.]        IJaya  a(|ni,  por  vida  niia, 

el  bayle  del  otro  dia. 
Lisco.  Todo  es  mudanzas  amor,     [aparte] 

Oteibio,  Miseno,  y  Lisco  se  sienten ;  los 
musicos  canten,  y  las  dos 

baijhn  ansi: 


2215* 


2220* 


[I] 
Amor,  cansado  de  ver 
tanto  ynteres  en  las  damas, 
y  que  por  desnudo  y  pobre, 
ninguna  fahor  le  daua, 
passose  a  las  Yndias, 
vendio  el  alxaua, 
que  mas  quiere  doblones, 
que  vidas  y  ahnas. 
Trato  en  las  Yndias  Amor 
no  en  joyas.  sedas,  y  olandas, 
si)io  en  ser  sutil  terzero 
de  villetes  y  ele  eartas. 
Be)lbio  de  las  Yndias 
eon  oro  y  plata; 
ejfte  el  Amor  hi(  n   vcstido 
rinde  las  damas. 
Passeo  la  Corte  Amor 
eon  mil  cadenas  y  vandas. 


2230 


235 


LA  DAMA  BOBA  219 

Las  (lamas,  coma  Ir  vian, 

desta  nuniera  Ic  hahlan:  2240 

iDe  do  viene,  de  do  viene.^ 
Viene  de  Panama — 

[11] 
^Dc  do  uicne  el  cahallerof 

Viene  de  Panama — 
TranzeUn  en  el  somhrero,  2245* 

Viene  de  Panama^— 
cadenita  de  oro  al  cncllo, 

Viene  de  Panama — 
en  los  hrazos  el  gng[u]iesco,  * 

Viene  de  Panama —  22o0 

las  ligas  con  rapazejos,  * 

Viene  de  Panama — 
capatos  al  uso  nueho,  * 

Viene  de  Panama — 
sotanilla  a  lo  turquesco. 

Viene  de  Panama — 


2255* 


iDe  do  viene,  de  do  viene? 
Viene  de  Panama — 

[III] 
iDe  do  viene  el  hi  jo  de  algo? 

Viene  de  Panama —  2260 

Corto  cuello,  y  puiios  largos,  * 

Viene  de  Panama — 
la  daga  en  vanda  colgando, 

Viene  de  Panama — 
guante  de  anhar  adohado,  2265* 

Viene  de  Panama — 
gran  jugador  del  vocahlo,  * 

Viene  de  Panama — 


220  ACTO  TEECEEO 

no  da  dinero,  y  da  manos, 

Viene  de  Panatna —  2270 

enfadoso  y  mal  criado; 

Viene  de  Panama — 
es  Amor,  llamase  Yndiano, 

Viene  de  Panama — 
es  chapeton  castellano,  2275* 

Viene  de  Panama — 
en  criollo  disfrazado. 

Viene  de  Panama — 

^De  do  viene,  de  do  viene? 

Viene  de  Panama —  2280 

[IV] 

/O  que  hien  pareze  Am,or 

con  las  cade  nets  y  galas! 

que  solo  el  dar  enamora, 

porque  es  gifra  de  las  gragias. 

Ninas,  donzellas,  y  viejas  2285 

van  a  buscarle  a  su  casa, 

mas  ynportunas  que  moscas, 

en  viendo  que  ay  miel  de  plata. 

Sobre  qual  le  ha  de  querer, 

de  viuos  gelos  se  ahrasan,  2290 

y  al  rededor  de  su  puerta 

vnas  tras  otras  le  cantan: 

jDexa  las  aucUanicas,  moro! 

Que  yo  me  las  vareare —  * 

[V] 
El  Amor  se  ha  huelto  godo:  2295* 

Que  yo  me  las  vareare — 
punos  largos,  cuello  corto, 

Que  yo  me  las  vareare — 


LA  DAMA  BOBA 


sotanilla,  y  liga  de  oro, 

Que  yo  me  las  vareare — 
sonhrero,  y  gapato  romo, 

Que  yo  me  las  vareare — 
manga  ancha,  calzon  angosto. 

Que  yo  me  las  vareare — 
El  hahla  mucho,  y  da  poco, 

Que  yo  me  las  vareare — 
es  viejo,  y  dize  que  es  mozo, 

Que  yo  me  las  vareare- — 
es  coharde  y  matamoros. 

Que  yo  me  las  vareare — 
Ya  sc  descuhrio  los  ojos. 

Que  yo  me  las  vareare — 
I  Amor  loco,  y  amor  loco!  - — 

Que  yo  me  las  vareare — 
lYo  por  vos,  y  vos  por  otro! 

Que  yo  me  las  vareare — 


2300 


2305 


±^tl      ^231 


T^S^f 


2315 


jDexa  las  auellanicas,  mora! 
Que  yo  me  las  vareare. — 

Miseno.  ]  Gallardamente,  por  cierto ! 

Dad  gracias  al  cielo,  Otauio, 

que  OS  satisfizo  el  agraiiio. 
Otahio.  Hagamos  este  coneierto 

de  Duardo  eon  Finea. 

Hijas,  yo  tengo  que  hablaros. 
Finea.  Yo  naci  para  agradaros. 

Otahio.  ^Quien  ay  que  mi  dicha  crea? 


2325 


*    Entrensc  todos,  y  quedcn  alii  Lisseo  y  Turin 

Liseo.  Oye,  Turin  .  .  . 

Turin.  ^.  Que  me  quieres  ? 

Liseo.  Quierote  comuniear 

vn  nuebo  gusto. 


•2'2-2  ACTO  TERCERO 

Turin.  Si  cs  dar 

sobro  til  ainor  parezcrcs,  2330 

busca  vn  let  ratio  tie  amor. 
Liseo.  Yo  he  mutlado  parezer. 

Turin.  A  ser  dexar  de  querer 

a  Nise,  fiiera  el  niexor. 
Liseo.  El  misnio;  porf}iio  Fiiiea  '  2335 

me  ha  (Ic  veiigar  dc  su  agrabio. 
Turin.  No  te  tengo  por  tan  sabio, 

que  tal  discrezion  te  crea.. 
Liseo.  l)e  niiebo  qiiiero  tratar 

mi  eassainiento ;  alia  voy.  2340 

Turin.  De  tu  parezer  estoy. 

Lisco.  Oy  me  tengo  de  vengar. 

Turin.  Niinca  ha  de  ser  el  (de)  casarse 

por  vengarse  de  vn  desden ; 

que  nunca  se  easo  bien  2345* 

quien  se  easso  por  vengarse. 

Porque  es  gallarda  Finea, 

y  porque  el  seso  cobro, 

— pues  de  Nise  no  se  yo 

que  tan  entendida  sea —  2350 

sera  bien  cassarte  luego. 
Liseo.  Misseno  ha  venitlo  acini ; 

algo  tratan  contra  mi. 
Turin.  Que  lo  mires  bien,  te  ruego. 

Liseo.  No  ay  mas;  a  pedirla  voy.  23^5 

*     [Vayase  Lissco] 

Turin.  El  eielo  tus  passos  guie, 

y  del  error  te  desbie 
en  que  yo  por  Celia  esto3^ 
i  Que  enamore  amor  vn  onbre 

como  yo!   Amor  desatina.  2360 

i  Que  vna  ninfa  de  cozina, 
para  blasson  de  su  nonbre 


LA  DAM  A  BOB  A  223 

l)onga  :    "Aqui  ninrio  Turin, 
entre  sartenes  y  cazos!" 

*     [Salgan]  Laurenzio  y  Pedro. 
Laurcncio.    Todo  es  poner  enbarazos,  2365 

para  que  no  lleg[u]e  al  fin, 
Pedro.  Habla  baxo,  que  ay  eseuclias. 

Laurcncio.    j  0  Turin  ! 

Turin.  Sefior    Laurenzio  .  .  . 

Laurcncio.    ^,  Tanta  (piietud  y  silenzio? 
Turin.  Ay  obligaziones  muchas  2370 

para  eallar  vn  discreto, 

y  yo  mui  discreto  soy. 
Laurcncio.    iQne  ay  de  Liseo? 
Turin.  A  eso  voy: 

fuese  a  casar. 
Pedro.  Buen  secreto. 

Turin.  Esta  tan  enaniorado  2375 

de  la  seiiora  Finea, 

si  no  es  que  venganza  sea 

de  Nise,  que  me  ha  jurado, 

que  luego  se  ha  de  cassar ; 

y  es  ydo  a  pedirla  a  Otabio.  2380 

Laurcncio.    Podre  yo  llamarme  a  agrabio. 
Turin.  Pues  ^el  os  puede  agrabiar? 

Laurcncio.    ^Las  palabras  suelen  darse 

para  no  cumplirlas? 
Turin.  No. 

Lmirencio.    De  no  casarse  la  dio.  2385 

Turin.  El  no  la  quiebra  en  casarse. 

Laurencio.    i  Como  ? 
Turin.  Porque  el  no  se  cassa 

con  la  que  solia  ser, 

sino  con  otra  inuger. 
Laurcncio.    ^Como  es  otra? 
Turin.  Porque  pasa  2390 


224  ACTO  TEECEBO 

del  IK)  saber  al  sabci', 

y  t'Oii  saber  le  oblige. 

I  IMandays  otra  cosa  ? 
Laurcncio.  No. 

[Turin.]        Pues  adios.     [vaijasc  Turin]  * 

Laurcncio.  ^Que  piiedo  hazer? 

i  Ay  Pedro !    Lo  (lue  tenii,  2395 

y  tenia  sospechado 

del  yngenio  que  ha  inostrado 

Finea  se  cunple  aqui. 

Como  la  ha  visto  Lisseo 

tan  discreta,  la  aficion  2400 

ha  puesto  en  la  discrezion, 
Pedro.  Y  en  el  oro  algun  desseo. 

Cansole  la  boberia; 

la  discrezion  le  anirao. 

*  Entre  Finea 

Finea.  ;  Clara,  Laurenzio,  me  dio  2405 

nuebas  de  tanta  alegria  ! 
Luego  a  mi  padre  dexe, 
y  aiinqne  ella  me  lo  callara, 

yo  tengo  quien  me  auisara,  * 

que  es  el  alma  que  te  vee  2410 

por  mil  vidros  y  cristales, 
por  donde  quiera  que  vas, 

porque  en  mis  ojos  estas  ^ 

con  memorias  inmortales. 

Todo  este  grande  lugar  2415 

tiene  colgado  de  espejos 
mi  amor,  juntos  y  parejos, 
para  poderte  mirar. 
Si  buelbo  el  rostro  alii,  veo 

tu  ymagen ;  si  a  estotra  parte,  2420 

tanbien ;  y  ansi  viene  a  darte 
nombre  de  sol  mi  desseo ; 


LA  DAM  A  BOB  A  225 

que  en  quantos  espejos  mira 
y  fuentes  de  piira  plata, 

su  bello  rostro  retrata,  2425 

y  su  luz  diuina  espira. 
Laurencio.    jAyFinea!    j  A  Dios  pluguiera 
que  nunca  tu  entendimiento 
llegara,  como  ha  llegado, 

a  la  mudanza  que  veo  !  "^^"^ 

Neeio  me  tubo  seguro, 
y  sospechoso  discreto, 
porque  yo  no  te  queria 
para  pedirte  consejo. 

I  Que  libro  esperaua  yo  2435 

de  tus  manos?     ^,En  que  pleyto 
hauias  xamas  de  hazerme 
ynformaeion  en  derecho? 
Ynocente  te  queria, 
porque  vna  muger  eordero 
es  tusson  de  su  marido, 
que  puede  traherla  al  pecho. 
Todas  habeys  lo  que  basta ; 
para  cassada,  a  lo  menos, 
no  ay  muger  nezia  en  el  mundo, 
porque  el  no  hablar  no  es  deffeto. 
Hable  la  dama  en  la  rexa, 
eseriua,  diga  concetos 

en  el  coche,  en  el  estrado,  * 

de  amor,  de  engaiios,  de  celos ;  2450 

pero  la  casada  sepa 
de  su  familia  el  gobierno, 
porque  el  mas  discreto  hablar 

no  es  sancto  como  el  silenzio.  * 

Mira  el  dafio  que  me  vino  2455 

de  transformarse  tu  ingenio, 
pues  va  a  pedirte,  j  ay  de  mi ! 
para  su  muger  Lisseo. 


2440* 


2445 


22(5  ACTO  TEECEBO 

Ya  dexa  a  Nise,  tu  hennaiia ; 

ol  so  eassa,  yo  soy  inuoi-to.  2460 

jXiiiica  i)lega  a  Dios  liablaras! 
Fiiiia.  iDt'  que  nie  cnlpas,  Laureiizio? 

A  pura  ymaginaeion 

del  alto  iiiereeiiniento 

de  tns  preiidas  aprendi  2465 

el  que  tu  dizes  (jue  tengo. 

Per  hablarte  supe  hablar, 

venzida  de  tus  requiebros ; 

por  leer  en  tus  papeles, 

libros  difficiles  leo ;  2470 

para  responderte  escriuo. 

No  he  tenido  otro  maestro 

que  amor,  amor  me  ha  ensefiado. 

Tu  eres  la  eiencia  que  aprendo. 

feDe  que  te  quexas  de  mi?  2475 

Lmirencio.    De  mi  desdieha  me  quexo. 

Pero,  pues  ya  sabes  tanto, 

dame,  seiiora,  vn  remedio. 
Finca.  El  remedio  es  facil. 

Lauvcncio.  |,  Como? 

Finea.  Si,  porque  mi  rudo  ingenio,  2480 

que  todos  aborrezian, 

se  ha  transformado  en  discreto, 

Liseo  me  quiere  bien, 

eon  bolber  a  ser  tan  necio 

como  primero  le  tube,  2485 

me  aborrezera  Lisseo. 
Laurcncio.    i Pues  sabras  fingirte  boba  ? 
Finca.  Si;  que  lo  fui  mucho  tiempo. 

y  el  lugar  donde  se  naze 

saben  andarle  los  ciegos.  2490 

Demas  desto,  las  mugeres 

naturaleza  tenemos 

tan  pronta  para  fingir, 


LA  DAM  A  BOB  A 


>27 


Laurencio. 
Finca. 


Laurencio. 
Finea. 


Laurencio. 


Finea. 

Laurencio. 

Finea. 

Laurencio. 

Pedro. 

Laurencio. 


o  con  amor,  o  con  miedo, 
que  antes  de  nazer  finginios. 
^, Antes  de  nazer? 

Yo  pienso 
que  en  tu  vida  lo  has  oydo. 
Escucha. 

Ya  escuclio  atento. 
Quando  estanios  en  el  bientre 
de  nuestras  madres,  hazemos 
entender  a  nnestros  padres, 
para  engaiiar  sus  desseos, 
que  somos  hijos  varones, 
y  assi  veras  que  contentos 
acuden  a  sus  antojos 
con  amores,  con  requiebros. 
Y  esperando  el  mayorazgo 
tras  tantos  regalos  heclios, 
sale  vna  henibra  que  corta 
la  esperanza  del  suceso. 
Segun  esto,  si  pensaron 
que  era  varon,  y  henbra  vieron, 
antes  de  nazer  fingimos. 
Es  euidente  argumento. 
Pero  yo  vere  si  sabes 
hazer,  Finea,  tan  presto 
mudanza  de  estremos  tales. 
Passo;  que  viene  Lisseo. 
Alii  me  voy  a  esconder. 
Ye  presto. 

Sig  [u]  eme,  Pedro. 
En  muchos  peligros  andas. 
Tal  estoy,  que  no  los  siento. 


2.510 


2520 


*    [Escondense  Laurencio  ij  Pedro]  Entre  Lisseo  con  Turin 
Liseo.  En  fin  queda  conzertado. 

Turin.  En  fin  estaua  del  cielo 

que  fuesse  tu  esposa. 


228 

ACTO  TEECESO 

Li  SCO. 

A  qui 

esta  mi  priniero  duefio.    [ajmrte] 

^No  sabeys,  sefiora  inia. 

eomo  ha  tratado  Misseno 

cassar  a  Duardo  y  Nisse, 

y  eomo  yo  tanbien  qiiiero 

que  se  hagan  nuestras  bodas 

con  las  siiyas? 

Finca. 

No  lo  creo ; 

(jue  Nise  ha  dicho  a  mi, 

que  esta  cassada  en  secreto 

con  vos. 

Liseo. 

i,  Conmigo  ? 

Finca. 

No  se, 

si  erades  vos,  o  Oliberos. 

^Quien  sois  vos? 

Liseo. 

I,  Ay  tal  mudanza  1 

Finea. 

I  Quien  dezis  ?    que  no  me  acuerdo. 

Y  si  mudanza  os  pareze. 

l  eomo  no  veys  que  en  el  cielo 

cada  mes  ay  nuebas  lunas  ? 

TJseo. 

i  Valgame  el  cielo  !    i  Que  es  esto  ? 

Turin. 

I  Si  le  buelbe  el  mal  passado  ? 

Finea. 

Pues  deeidme :   si  tenemos 

luna  nueba  cada  jnes, 

^adonde  estan?     ^que  se  han  echo 

las  viejas  de  tantos  aiios? 

^Daysos  por  venzido? 

TJseo. 

Temo 

que  era  loeura  su  mal.     [apart c] 

Finea. 

Guardanlas  para  remiendos 

2530 


2535 


2540 


2545 


2550 


de  las  que  salen  menguadas. 
Veys  ay  que  soys  vn  nezio. 
Liseo.  Seiiora,  mucho  me  admiro 

de  que  ayer  tan  alto  yngenio 
mostrassedes. 


LA  DAM  A  BOB  A 


229 


2565 


2570 


Finca.  Plies,  senor,  2555 

agora  ha  llegado  al  vuestro ; 

que  la  mayor  diserezion  ^ 

es  acomodarse  al  tiempo. 
Liseo.  Eso  dixo  el  mayor  sabio. 

Pedro.  Y  esto  escucha  el  mayor  neeio.    [escondido]  ^560 

Liseo.  Quitado  me  habeys  el  giisto. 

Finea.  No  he  tocado  a  vos,  por  cierto ; 

mirad  que  se  habra  caydo. 
Liseo.  \  Linda  ventura  tenemos ! 

Pidole  a  Otabio  a  Finea, 

y  quando  a  dezirle  vengo 

el  cassamiento  tratado, 

hallo  que  a  su  ser  se  ha  buelto.     [a parte] 

Bolbed,  mi  seiiora,  en  vos, 

eonsiderando  que  os  quiero 

por  mi  dueno  para  sienpre. 
Ftnea.  ^.  For  mi  dueiia,  maxadero? 

Liseo.  ^Assi  trata^'s  vn  esclauo 

que  OS  da  el  alma  ? 
Finea.  i  Como  es  esso  ? 

Liseo.  Que  os  doy  el  alma. 

Finea.  i,  Que  es  alma  ? 

Liseo.  i,  Alma  ?    El  gouierno  del  cuerpo. 

Finea.  i,  Como  es  vn  alma  'I 

Liseo.  Seiiora, 

como  filosopho  puedo 

difinirla,  no  piiitarla. 
Finea.  ^No  es  alma  la  que  en  el  pesso 

le  pintail  a  san  Mig[u]el? 
Liseo.  Tanbien  a  vn  angel  ponemos 

alas  y  cuerpo,  y,  en  fin, 

es  vn  espiritu  bello. 
Finea.  ^Hablan  las  almas? 

lAseo.  Las  almas 

obraii  por  los  instrumentos. 


2575* 


2580* 


2585 


2;'.0  ACTO   rKUCKUO 

por  los  sentidos  y  i)ai-t('S 

(le  que  se  organiza  el  ('ncrj)o. 
Fi)it(i.  /.Longaiiiza  conic  d  alma? 

Ti(rl)i.  ;  Ell  (|U('  to  eansas? 

Lisro.  No  piiedo  2590 

pensar,  sino  que  es  locura. 
Turin.  Poeas  vezes  de  los  neeios 

se  hazoii  los  locos,  senoi-. 
TAtifo.  I  Pues  de  qiiien  ? 

Turin.  De  los  discretes ; 

porque  de  diuersas  caiisas  2595 

nazen  effetos  diuersos. 
Lisco.  [  Ay  Turin !    Buelborae  a  Nise. 

Mas  qniero  el  entendimiento, 

que  toda  la  voluntad. 

Seiiora,  pues  mi  desseo,  2600 

que  era  de  daros  el  alma, 

no  pudo  tener  (en)  effeto,  * 

qniMlad  con  Dios. 
Finca.  Soy  medrosa  * 

de  las  almas,  porque  terao 

que  de  tres  que  andan  pintadas  2605 

puede  ser  la  del  ynfierno. 

La  noehe  de  los  diffuntos  * 

no  saeo  de  puro  miedo 

la  cabeza  de  la  ropa. 
Turin.  Ella  es  loca  sobre  neeio,  2610 

que  es  la  peor  guarnizion. 
Lisco.  Decirlo  a  su  padre  quiero. 

*     Vayanse  [Liseo  y  Turin,  y  salgtni]  Laurcnzio  y  Pedro 
Lanrencio.    ^.  Puedo  salir? 

Finea.  i.  Que  te  dize  ?  * 

Lanrencio.    Que  ha  sido  el  mexor  remedio 

que  pudiera  ymaginarse.  2615 

Finca.  Si;  pero  siento  en  estremo 


LA  DAMA  BOBA  231 

Ijollicnnc  a  boba,  ami  fingida. 

Y  pues  fingida  lo  siento, 

los  que  son  bobos  de  veras 

/,  Como  viuen  ? 
Laurcncio.  No  sintiendo.  262n 

Pedro.  Plies  si  vn  tonto  ver  pudiera 

sii  entendimiento  en  vn  espejo, 

^no  fuera  huyendo  de  si? 

La  razon  de  estar  contentos 

es  aquella  confianza  262;j 

de  tenerse  por  discretos. 
Finca.  Hablame,  Laurenzio  mio, 

siitilmente,  porque  quiero 

desquitarnie  de  ser  boba. 

*  Entre  Nise,  y  Celia 

Nise.  Sienpre  Finea  y  Laurenzio  2630 

juntos :    sin  dud  a  se  tienen 

amor ;  no  es  posible  menos. 
Celia.  Yo  sospecho  que  te  engailan. 

Nise.  Desde  aqui  los  escuchemos. 

Laurencio.    ^,  Que  puede,  herniosa  Finea,  2f;35 

decirte  el  alma,  aunque  sale 

de  si  misma.  que  se  ygiiale 

a  lo  que  mi  amor  dessea  ? 

Alia  mis  sentidos  tienes: 

escoge  de  lo  sutil,  -^^"^ 

presumiendo  (jiie  en  abril 

por  amenos  prados  vienes. 

Corta  las  diuersas  flores, 

porque  en  mi  ymaginazion 

tales  los  desseos  son.  2645 

Nise.  ^„Estos,  Celia,  son  amores, 

o  regalos  de  euiiado? 
Celia.  Kegalos  deben  de  ser, 

pero  no  ((uisiera  ver 


ACTO  TEECERO 


ciinado  tail  regalado. 

Finra. 

;Ay  Dios!     ;  Si  llegasc  dia 

cii  que  viesse  mi  esperanza 

sii   posesioii ! 

Laurcncio. 

^Qiie  no  alcan/a 

vna  aniorosa  porfia? 

Pedro. 

Til  lu^nnaiia  eseiichando. 

Lauvencio. 

;  Ay  ei(^los ! 

Fine  a. 

Buelboiiie  a  boba. 

Laurcncio. 

Eso  ynporta. 

Finea. 

Yete. 

Nise. 

Esperate,  reporta 

los  passos. 

Laurencio. 

tVendras  con  zelos? 

Nisc. 

Celos  son  para  sospechas; 

trayciones  son  las  verdades. 

Laurcncio. 

i  Que  presto  te  persuades, 

y  de  enganos  te  aprobechas ! 

^Querras  busear  ocasion 

para  querer  a  Liseo, 

a  qiiien  ya  tan  cerca  veo 

de  tu  boda  y  posesion  ? 

Bien  hazes,  Nise,  hazes  bien. 

Lebantame  vn  testimonio, 

porque  deste  matrimonio 

a  mi  la  culpa  me  den. 

Y  si  te  quieres  eassar, 

dexame  a  mi.     [Vaijasc] 

Nise. 

Bien  me  dexas. 

A^engo  a  quexarme,  y  te  quexas. 

^,Aun  no  me  dexas  hablar? 

Pedro. 

Tiene  razon  mi  senor: 

casate,  y  acaba  ya.     [vayase] 

Nise. 

iQxie  es  aquesto? 

Celia. 

Que  se  va 

Pedro  con  el  mismo  liumor. 

2650 


2655 


2660 


2065 


2670 


LA  DAMA  BOBA  233 

y  aqui  viene  bien  que  Pedro  * 

es  tan  ruin  como  su  amo.  2680 

Nise.  Ya  le  aborrezco  y  desanio. 

i  Que  bien  eon  las  quexas  medro ! 

Pero  fue  linda  ynbenzion 

antieiparse  a  refiir. 
Cclia.  Y  el  Pedro,   ^quien  le  vio  yr  2685 

tan  vellaco  y  socarron  ? 
Nise.  Y  tu,  que  disimulando 

estas  la  traycion  que  has  lieclio, 

lleno  de  engaiios  el  peeho, 

con  que  me  estas  abrassando,  2690 

pues  como  sirena  fuiste 

medio  pez,  medio  muger, 

pues  de  animal  a  saber 

para  mi  dafio  veniste, 

^piensas  que  le  has  de  gozar?  2695 

Finea.  &  Tu  me  has  dado  pez  a  mi, 

ni  sirena,  ni  yo  fui 

xamas  contigo  a  la  mar? 

Anda,  Nise ;  que  estas  loca. 
Nise.  feQue  es  esto? 

Celia.  A  tonta  se  buelbe.  2700 

Nise.  A  vna  cosa  te  resuelbe : 

tanto  el  furor  me  proboca, 

que  el  alma  te  he  de  sacar. 
Fined.  i  Tienes  cuenta  de  perdon  ?  * 

Nise.  Tengola  de  tu  traycion,  2705 

pero  no  de  perdonar. 

I  El  alma  piensas  quitarme 

en  quien  el  alma  tenia? 

Dame  el  alma  que  solia, 

traydora  hermana,  animarme.  2710 

Mucho  debes  de  saber, 

pues  del  alma  me  desalmas. 
Finea.  Todos  me  piden  sus  almas ; 


JCTO  TEHCEEO 


Nise. 


;iliii;irio  (It'bo  dc  hvv. 
Totla  soy  hnrtos  y  robos. 
]\Iontps  ay  donde  no  ay  gente : 
yo  me  Ai'c  a  meter  sci'pionte. 
Que  ya  210  os  tienipo  de  bobos. 
Dame  el  alma. 


2715 


^     \Fntrrn]  Ofahio  con  Feniso  y  Duardo 

Ofahio. 

l  Que  es  aquesto  ? 

Finca. 

Almas  me  piden  a  mi. 

I  Soy  yo  purgatorio  ? 

Nise. 

Si. 

Finea. 

Plies  prociira  salir  presto. 

Otahio. 

/,No  sabremos  la  ocasion 

de  viiestro  enojo? 

Finca. 

Qiierer 

Nise,  a  fuerza  de  saber, 

pedir  lo  que  no  es  razon : 

almas,  sirenas,  y  pezes 

dize  que  me  ha  dado  a  mi. 

Otahio. 

I  Hase  buelto  a  boba  ? 

Nise. 

Si. 

Ofahio. 

Tu  pienso  que  la  enbobezes. 

Finca. 

Ella  me  ha  dado  ocasion ; 

que  me  quita  lo  que  es  mio. 

Otabio. 

Se  ha  buelto  a  su  desbario. 

Muerto  soy. 

Feniso. 

Desdichas  son. 

Duardo. 

^,No  decian  que  ya  estaua 

con  mucho  seso? 

Otahio. 

i  Ay  de  mi ! 

Nise. 

Yo  quiero  hablar  claro. 

Otahio. 

Di. 

Nise. 

Todo  tu  dafio  se  acaua 

con  mandar  resueltamente, 

— pues  como  padre  podras, 

2720 


2735 


2740 


LA  DAM  A  BOB  A  235 

y  aiinque  en  todo,  en  esto  mas, 

pues  tu  onor  no  lo  consiente, — 

que  Laurenzio  no  entre  aqni. 
Otabio.  I  Por  que  ? 

Nise.  Porque  el  ha  causado 

que  esta  no  se  aya  cassado,  2745 

y  que  yo  te  enoje  a  ti. 
Otabio.  Pues  eso  es  mui  faeil  cosa. 

Nise.  Pues  tu  cassa  en  paz  tendi-as. 

*     [Eutirn]  Pedro  ij  Laurenzio 
Pedro.  Contento,  en  efeto,  estas. 

Laurcncio.    Ynbenzion  marauillosa.  2750 

Celia.  Ya  Laurenzio  viene  aqui. 

Otabio.         Laurenzio,  quando  labre 

esta  cassa,  no  pense 

que  academia  institui ; 

ni  quando  a  Nise  eriaua,  2755 

pense  que  para  poeta, 

sino  que  a  muger  perfeta 

con  las  letras  la  ensenaua. 

Sienpre  alabe  la  opinion 

de  que  la  muger  prudente,  ,  2760 

con  saber  medianamente,    / 

le  sobra  la  discrezion. 

No  quiero  mas  poessias, 

los  sonetos  se  acabaron, 

y  las  musicas  cesaron  ;  2765 

que  son  ya  brebes  mis  dias. 

Por  alia  los  podreys  dar, 

si  OS  f altan  telas  y  rasos ;  * 

que  no  ay  tales  Garzilasos 

como  dinero  y  eallar.  2770 

Este  venden  por  dos  reales,  * 

y  tiene  tantos  sonetos 

eligantes  y  discretes, 


236 


ACTO  TEFCEFO 


que  vos  no  los  hareys  tales. 
Ya  no  liabeys  de  entrar  aqui. 
Con  este  aehaque,  yd  eon  Dios. 
Laurcncio.    Es  miii  jiisto,  como  vos 

me  deys  a  mi  esposa  a  mi. 
Que  vos  liazeys  viiestro  gusto 
en  vuestra  cassa,  y  es  bien 
que  en  la  mia  yo  tanbien 
haga  lo  que  fuere  justo. 


Otahio. 

^, Que  muger  os  tengo  yo? 

Laurcncio. 

Finea. 

Otahio. 

l  Estays  loco  ? 

Laurcncio. 

Aqui 

ay  tres  testigos  del  si, 

que  ha  mas  de  vn  mes  que  me  dio. 

Otahio. 

^, Quien  son? 

Laurcncio. 

Duardo.  Feniso, 

y  Pedro. 

Otahio. 

^.  Es  esto  verdad? 

Feniso. 

Ella  de  su  voluntad, 

Otabio,  darsele  qniso. 

Duardo. 

Assi  es  verdad. 

Pedro. 

No  bastaua 

que  mi  seilor  lo  dixesse. 

Otahio. 

Que  como  sinple  le  diese 

a  vn  hombre  que  la  engaiiaua 

no  ha  de  baler.    Di,  Finea, 

I  no  eres  simple  ? 

Finea. 

Quando  quiero. 

Otahio. 

^.Y  quando  no? 

Finea. 

No. 

Otahio. 

^,  Que  espero? 

Mas  quando  sinple  no  sea, 

con  Lisseo  esta  cassada. 

A  la  justicia  me  voy. 

2775 


27S5 


2790 


2795 


2800 


LA  DAMA  BOBA 


237 


*  Vayase  OtaMo 

Nise.  Veil,  (^elia,  tras  el ;  que  estoy 

celosa  y  desesperada. 

*  y  Nise  y  Celia 
Laurcncio.    Yd,  por  Dios,  tras  el  los  dos; 

no  me  suceda  vn  disgusto. 
Fcniso.  Por  viiestra  amistad  es  justo. 

Duardo.         Mai  echo  lia  sido,  por  Dios. 
Fcniso.  lYa  hablays  como  despossado 

de  Nise? 
Duardo.  Piensolo  ser. 

*  y  Duardo  y  Feniso 
Laurencio.    Todo  se  ha  hechado  a  perder. 

Nise  mi  amor  le  ha  contado. 

i,  Que  remedio  puede  haber, 

si  a  verte  no  puedo  entrar? 
Fema.  No  salir. 

Laurcncio.  ^Doiide  he  de  estar? 

Finea.  ^Yo  no  te  sabre  esconder? 

Laurencio.    ^,  Donde? 
Finca.  En  casa  ay  vn  desban 

famoso  para  esconderte. 


2S10 


*            Clara  entre 

Clara  .  .  . 

Clara. 

Mi  senora  .  .  . 

Finca. 

Aduierte 

que  mis  desdiehas  estan 

en  tu  mano.     Con  seereto 

lleba  a  Laurenzio  al  desban. 

Clara. 

^,Y  a  Pedro? 

Finca. 

Tanbien. 

Clara. 

Galan. 

camine. 

2820 


238 

AITO  TEBCEBO 

Laurt  II rid. 

Yo  1c  |)f()iii('1o 

(|U('  voy  tciiblando. 

Finra. 

;  I)c  (luc? 

Pedro. 

('Iiii';i,  en  Ih'gaiuio  la  ora 

(If  iiUKiiiir,  di  a  tu  senora 

que  algiin  siistento  iios  dc 

Clara. 

Otrn  com  era  poor 

(inc  til. 

PnJro. 

I  Yo  al  desban  ?    i  soy  gato  ? 

^ 

Vayausc  Laurenzio,  Pedro,  y  Clara 

2825* 


Finea.  l/Por  que  de  ynposible  trato 

este  mi  publico  amor? 
En  llegandose  a  saber 
vna  voluntad,  no  ay  cosa 
mas  triste  y  escandalosa 
para  vna  onrrada  muger. 
Lo  que  tiene  de  secret o, 
eso  tiene  amor  de  gusto. 


2830 


2835 


*  Otahio  cntre 

Otahio.  Harelo,  aunque  fuera  justo 

poner  mi  enojo  en  efifeto.     [aparte] 
Finea.  ^,  Yienes  ya  desenojado? 

Otahio.  Por  los  que  me  lo  ban  pedido. 

Finea.  Perdon  mil  vezes  te  pido. 

Otahio.  ^Y  Laurenzio? 

Finea.  Acpii  ha  jurado 

no  entrar  en  la  corte  mas. 
Otahio.  ^Adonde  se  fue? 

Finea.  A  Toledo. 

Otahio.  Bien  hizo. 

Finea.  No  tengas  miedo 

que  buelba  a  Madrid  xamas. 
Otahio.  Hija,  pues  sinple  naeiste, 


2840 


>845 


LA  DAM  A  BOB  A  239 

y  por  niilagros  de  amor 

dexaste  el  passado  error, 

^  eomo  el  yngenio  perdiste  ?  2850 

Fi)i<a.  /Que  qiiiere,  padre?    A  la  fee, 

de  bobos  no  ay  que  fiar. 
Otahio.  Yo  lo  pienso  remediar. 

Fine  a.  i  Como,  si  el  otro  se  fue  ? 

OtaMo.  Pues  te  engaiian*  faeilmente  2855 

los  honbres,  en  viendo  alguno, 

te  has  de  esconder ;  que  ninguno 

te  ha  de  ver  eternamente. 
Fiuca.  Pues  ^donde? 

Ofabio.  En  parte  secreta. 

Finea.  ^Sera  bien  en  vn  desban,  2860 

donde  los  gatos  estan? 

I  Quieres  tu  que  alii  me  meta  ? 
Otahio.  Adonde  te  diere  gusto, 

como  ninguno  te  vea. 
Finea.  Pues  alto,  en  el  desban  sea :  2865 

tu  lo  mandas,  sera  justo. 

Y  aduierte  que  lo  has  mandado. 
Otahio.  Vna  y  mil  vezes. 

*  Entren  Liseo  y  Turin 

Lisco.  Si  (luise 

con  tantas  veras  a  Nise, 

mal  puedo  haberla  oluidado.  2870 

Finea.  Hombres  vienen.    Al  desban, 

padre,  yo  voy  a  eseonderme. 
Otahio.  Hija,  Liseo  no  ynporta. 

Finea.  Al  desban,  padre;  ombres  vienen. 

Otahio.  Pues  i  no  ves  que  son  de  cassa  ?  2875 

Finea.  No  yerra  quien  obedeze. 

No  me  ha  de  ver  hombre  mas 

sino  (}uien  mi  esposo  fuere. 

*  Vayasc  Finea 


to 


ACTO  TEBCEEO 


Lis<<>. 
Of  a  bio. 
Li  SCO. 

Otahio. 

Li  SCO. 
Of  Ohio. 

Lisco. 
Ofahio. 


Lis 


Otahio. 


Jjiseo. 
Otahio. 


Tiis  (lisfjnstos  lie  sal)i(Io. 
Soy  padre. 

Ri'ini'dio  pucdes 
poner  en  aquestas  cosas. 
Ya  le  he  piiesto,  con  que  dexen 
mi  cassa  los  que  la  ynquietan. 
Pues  I  de  que  manera  ? 

Fuesse 
Laurenzio  a  Toledo  ya. 
i  Que  bien  has  hecho  ! 


2880 


2885 


Y  tu  erches 


viuir  aqui  sin  casarte? 

Porque  el  mismo  inconuinieute 

se  sig[u]e  de  que  aqui  estes. 

Oy  haze,  Lisseo,  dos  messes 

que  me  trahes  en  palabras. 

i  Bien  mi  termino  agradezes ! 

Vengo  a  cassar  con  Finea, 

forzado  de  mis  parientes, 

y  hallo  vna  sinple  muger. 

I,  Que  la  quiera,  Otabio,  quieres  ? 

Tienes  razon ;  acabose. 

Pero  es  linpia,  hermosa,  y  tiene 

tanto  doblon  que  podria 

doblar  el  marmol  mas  fuerte. 

^Querias  quarenta  mil 

ducados  con  vna  fenis? 

I  Es  coxa  o  manca  Finea  ? 

i.  Es  ciega  ?    Y  quando  lo  fuesse, 

^ay  falta  en  naturaleza 

que  con  oro  no  se  afeyte? 

Dame  a  Nise. 

No  ha  dos  oras 
que  Miseno  la  promete 
a  Duardo  en  nombre  mio. 
Y  pues  hablo  claramente. 


2895 


2900 


2905 


2910 


LA  DAM  A  BOB  A 


241 


liasta  inanana  a  estas  oras 
te  doy  para  que  lo  pienses, 
porqiie  de  no  te  cassar, 
para  que  en  tu  vida  entres 
por  las  puertas  de  mi  cassa 
que  tan  enfadada  tienes, 
haz  cuenta  que  eres  poeta. 


2915 


*     Yaj/asc  Oiahio 
Lisco.  I  Que  te  dize  ?  .  .  . 

Turin.  Que  te  aprestes, 

y  con  Finea  te  easses ; 

porque  si  beynte  merezes 

porque  sufras  vna  boba, 

te  ailaden  los  otros  beynte. 

Si  te  dexas  de  cassar, 

te  ban  de  decir  mas  de  siete : 

' '  i  Miren  la  bobada ! ' ' 
Lisco.  Yamos ; 

que  mi  temor  se  resuelbe 

de  no  se  cassar  a  bobas. 
Turin.  Que  se  cassa  me  pareze 

a  bobas  quien  sin  dineros 

en  tanta  costa  se  mete. 

Rubrica  de  Lope  de  Vega 


2920 


2925 


2930 


*     Vayanse,  y  cntren  Finea  y  Clara 

Finea.  Hasta  agora  bien  nos  va. 

Clara.  No  a^'as  miedo  que  se  entienda. 

Finea.  \0  quanto  a  mi  amada  prenda 

deben  mis  sentidos  ya ! 
Clara.  \  Con  la  humildad  que  se  pone 

en  el  desban ! 
Finea.  No  te  espantes; 

que  es  propia  cassa  de  amantes, 


2935 


242  ACTO  TEnCKnO 

;iun(|iif  I.aiii'ciizio  pcrdoiic. 
Cldra.  ;  V  (|iiicn  ]\o  vine  cii  dcshan 

(if  (|iiaiit()s  oy  hail  iiai-ido!  2940 

Fi)i<a.  A\gun  huinikle  que  ha  sido 

do  los  ((111'  en  lo  baxo  estan. 
Clara.  En  el  desl)aii  vine  d  li()iid)iv 

que  se  tieiie  i)or  mas  sabio 
(jue  Platon. 
Pinca.  Hazele  agrabio ;  2945 

que  fue  diuino  su  iiombre. 
Clara.  En  el  desban  el  que  anima 

a  grandezas  su  desprecio ; 
en  el  desban  mas  de  vn  neeio 

que  por  discrete  se  estima.  2950 

Fine  a.  ^Quieres  que  te  diga  yo 

como  es  falta  natural 
de  necios  no  pensar  mal 
de  si  niismos? 
Clara.  ^.  Conio  no? 

Finea.  La  eonfianza  secreta  2955 

tanto  el  sentido  les  roba, 
que,  quando  era  yo  mui  boba, 
me  tube  por  mui  discreta. 
Y  como  es  tan  semejante 

el  saber  eon  la  humildad,  2960 

ya  que  tengo  habilidad, 
me  tengo  por  inorante. 
Clar((.  En  el  desban  vine  bien 

vn  matador  criminal, 

euya  muerte  natural  2965 

ninguno,  o  pocos  la  ven. 
En  el  desban  de  mil  modos, 
y  sujeto  a  mil  desgracias, 
aquel  que  diziendo  gracias 

es  desgraciado  con  todos.  2970 

En  el  desban  vna  dama, 


LA  DAM  A  BOB  A  243 

que  creyendo  a  quien  la  yiiqiiieta, 
l)or  vn  ora  de  discreta, 
pierde  mil  aiios  de  fama. 

En  el  desban  vn  preciado  -975 

de  Undo,  y  es  vn  cayman ;  * 

pero  tienele  el  desban 
conio  el  espejo  engaiiado. 
En  el  desban  el  que  canta 

con  voz  de  carro  de  bueyes,  2980 

y  el  que  viene  de  Muleyes,  * 

y  a  los  godos  se  lebanta.  * 

En  el  desban  el  que  escriue 

versos  legos  y  donados,  * 

y  el  que  por  vanos  cuidados  2985 

sujeto  a  peligros  vine. 
Finalmente  .  .  . 
Finea.  Espera  vn  poco; 

que  viene  mi  padre  aqui. 

*     [E)itr€n]  Otahio,  Miscno,  Duardo,  Fcniso 

Miseno.  |,Eso  le  dixiste? 

Otahio.  Si ; 

que  a  tal  furor  me  proboco.  2990 

No  ha  de  quedar  \  vine  el  cielo ! 

en  mi  cassa  quien  me  enoje. 
Fcniso.  Y  es  justo  que  se  despoje 

de  tanto  nezio  mozuelo. 
Otahio.  Pidiome  graeiosamente  2995 

que  con  Nise  le  cassase; 

dixele  que  no  pensase 

en  tal  cosa  eternamente, 

y  asi  estoy  deterniinado. 
Miseno.  0yd ;  que  esta  aqui  Finea.  3000 

OtaMo.  Hija,  escueha. 

Finea.  Quando  vea. 


244  ACTO  TEECEEO 

coino  me  lo  liabcys  uiaiidado, 

que  estays  solo. 
Otabio.  Espcra  vu  poco; 

(pu'  ti^  lie  cassado. 
Clara.  i  Que  UGu])i'es 

casaniiento  tlonde  ay  honbres?  3005 

Olabio.  Luego  ^teneysme  por  loco? 

Fi)i<a.  No,  padre ;  mas  ay  a(pii 

houbres,  y  voyme  al  desbau. 
Ofahio.  A(pii  por  tu  bien  estan. 

Foiiso.  Veugo  a  que  os  sirbays  de  rai.  3010 

Fiiica.  i  Jesus,  seiior  !     ^No  sabeys 

lo  (pie  mi  padre  ha  mandado? 
Misoio.  Oye ;  que  hemos  conzertado 

que  OS  caseys. 
Finca.  Gracia  teneys. 

No  ha  de  haber  hija  obediente  3015 

como  yo :    voyme  al  desban. 
Misoio.  Pues  no  es  Feniso  galan. 

Finea.  Al  desban,  sefior  parieute. 

Va!ja[)i]sc  Finea  [y  Clara] 
Duardo.         ^Como  vos  le  habeys  mandado 

que  de  los  honbres  se  esconda  ?  3020 

Otabio.  No  se,  por  Dios,  que  os  responda. 

Con  ella  estoy  enojado, 

0  con  mi  contraria  estrella. 
Miseno.         Ya  viene  Lisseo  aqui. 

Determinaos. 
Otabio.  Yo  por  mi,  3025 

^  que  puedo  dezir  sin  ella  ? 

[Entrcn]  Lisseo,  Nise  y  Turin 

Lisco.  Ya  que  me  parto  de  ti, 

solo'quiero  que  couozcas 
lo  que  pierdo  por  quererte. 


LA  DAM  A  BOB  A  245 


3030 


Nise.  Conozco  que  tii  persona 

mereze  ser  estimdda, 

y  como  mi  padre  agora 

venga  bien  en  que  seas  mio, 

yo  me  doy  por  tuya  toda ; 

que  en  los  agrauios  de  amor 

es  la  venganza  gloriosa. 
Liseo.  I  Ay  Nisse,  nunca  te  vieran 

mis  ojos,  pues  fuiste  sola 

de  mayor  yncendio  en  mi, 

que  fue  Elena  para  Troya! 

Vine  a  cassar  con  tu  hermana, 

y  en  viendote,  Nisse  hermosa, 

mi  libertad  salteaste, 

del  alma  pregiosa  joya. 

Nunca  mas  el  oro  pudo 

con  su  fuerza  poderosa, 

que  ha  derribado  montafias 

de  costumbres  generosas, 

liumillar  mis  pensamientos 

a  la  baxeza  que  doran 

los  resplandores,  que  a  vezes 

ciegan  tan  altas  personas. 

Nise,  duelete  de  mi, 

ya  que  me  voy. 
Turin.  Tienpla  agora, 

bella  Nise,  tus  desdenes:  ^0-^5 

que  se  va  amor  por  la  posta  * 

a  la  cassa  del  agrauio. 
Nise.  Turin,  las  lagrimas  solas  ^ 

de  vn  hombre  ban  sido  en  el  mundo 

veneno  para  nosotras. 

No  ban  muerto  tantas  mugeres 

de  fuego,  yerro,  y  ponzoiia, 

como  de  lagrimas  vuestras. 


3035 


3040 


3045 


3050 


3060 


246  ACTO  TERCEBO 

Turin.  Plies  inira  vii  lioiihi-c  (|U('  llora. 

^Eros  tu  barbara  tigre! 

['  jEres  pantera?     ^Eres  onza? 

I  Eres  duende  ?    i  Eres  leclmza  ? 
^Eres  Qirce?     &Eres   pandorga 
I  Qual  de  aquestas  cosas  eres, 
que  no  estoy  bien  en  historias  ? 

Nise.  I  No  basta  dezir  que  estoy 

rendida  ? 


3065 


Entrc  Cclia 


Celia. 

Escucha,  senora. 

Nise. 

6 Eres  Celia? 

Celia. 

Si. 

Nise. 

l  Que  quieres  ? 

Que  ya  todos  se  alborotan 

de  verte  venir  turbada. 

Otahio. 

Hija,  &  que  es  esto  ? 

Celia. 

Vna  cosa 

que  OS  ha  de  poner  cuidado. 

Otahio. 

i,  Cuidado  ? 

Celia. 

Yo  vi  que  agora 

llebaua  Clara  vn  tabaque 

eon  dos  perdizes,  dos  lonjas, 

dos  gazapos,  pan,  toallas, 

cuchillo,  salero  y  bota. 

Seguila,  y  vi  que  al  desban 

caminaba. 

Otahio. 

Celia  loca, 

para  la  boba  seria. 

Feniso. 

i  Que  bien  que  comen  las  bobas ! 

Otabio. 

Ha  dado  en  yrse  al  desban, 

porque  oy  le  dixe  a  la  tonta 

que,  para  que  no  la  engaiien, 

en  viendo  vn  ombre  se  esconda. 

3075 


3080 


3085 


3090 


LA  DAMA  BOBA 


247 


Cclia. 

Esso  fuera,  a  no  liaber  sido 

para  saberlo  curiosa. 

Subi  tras  ella,  y  eerro 

la  puerta. 

Miseno. 

Plies  bien,    |,  que  ynporta? 

Celia. 

^No  ymporta,  si  en  aquel  suelo, 

como  si  fuera  vna  alfonbra, 

de  las  que  la  primabera 

en  prados  fertiles  borda, 

tendio  vnos  blancos  manteles, 

a  quien  hizieron  corona 

dos  honbres,  ella  y  Finea? 

Otahio. 

I.  Honbres  ?    ;  Buena  va  mi  honrra  ! 

I  Conozistelos  ? 

Celia. 

No  pude. 

Feniso. 

Mira  bien  si  se  te  antoja, 

Celia. 

Otahio. 

No  sera  Laurenzio; 

que  esta  en  Toledo. 

Duanlo. 

Reporta 

el  enojo ;  yo  y  Feniso 

subiremos. 

Otahio. 

Reconozean 

la  eassa  que  ban  afrentado. 

* 

Vayase  Otahio. 

Feniso. 

No  suceda  alguna  cossa. 

Nise. 

No  hara ;  que  es  cuerdo  mi  padre. 

Duarclo. 

Cierto  que  es  diuina  joya 

Feniso. 


Lisco. 


H0H5 


3100 


3105 


3110 


el  entendimiento. 

Sienpre 
yerra,  Duardo,  el  que  ygnora. 
Desto  OS  podej^s  alabar, 
Nise ;  pues  en  toda  Europa 
no  tiene  ygual  vuestro  yngenio. 
Con  su  hermosura  conforma. 


3115 


248 


ACTO  TEliCEEO 


Otahio. 

Laurcncio. 

F(  u  ISO. 

Laurcncio. 

Otahio. 

Finca. 
Otahio. 

Finca. 


Otahio. 

Miscno. 
Turin. 

Clara. 
Miscno. 


Otahio. 


l(/a  can  la  (spada  (hsHuda  Otahio  siguiendo 
a  Laurcnzio,  Finca,  Clara  ij  Pedro 
^lil  vidas  he  de  quitar 
a  qnien  el  oiior  me  roba. 
Detened  la  espada,  Otabio ; 
yo  soy,  que  estoy  con  mi  esposa. 
^.  Es  Laiirenzio? 

^No  lo  veys? 
(  Quien  piidiera  ser  agora, 
sine  Laiirenzio,  mi  ynfamia? 
Pues,  padre,   ^  de  que  se  enoja  ? 
i  0  ynf ame !    i  No  me  dixiste 
que  el  dueiio  de  mi  desonrra 
estaua  en  Toledo? 

Padre, 
si  aqueste  desban  se  nombra 
Toledo,  verdad  le  dixe. 
Alto  esta,  pero  no  ynporta ; 
que  mas  lo  estaua  el  Alcazar 
y  la  puente  de  Segobia, 
y  hubo  juanelos  que  a  el 
subieron  agua  sin  sogas. 
El   I  no  me  mando  esconder  ? 
Pues  suya  es  la  culpa  toda. 
i  Sola  en  vn  desban,  mal  ano ! 
Ya  sabe  que  soy  medrosa. 
Cortarele  aquella  lengua, 
rasgarele  aquella  boca. 
Este  es  casso  sin  remedio. 
^Y  la  Clara  socarrona 
que  llebaba  los  gazapos? 
Mandomelo  mi  seiiora. 
Otabio,  vos  soys  discreto ; 
ya  sabeys  que  tanto  monta 
eortar  como  desatar. 
^Qual  me  aconsejays  que  escoja? 


3120 


3125 


3130 


3135 


3140 


3145* 


3150 


LA  DAMA  BOBA 


Miseno. 
Otahio. 


Feniso. 


Laurencio. 

Otahio. 
Liseo. 
Otahio. 
Laurencio. 


Pedro. 


Finea. 
Turin. 


Nisc. 

Turin. 

Feniso. 

Duardo. 


Desatar. 

Senor  Feniso, 
si  la  voluntad  es  obra, 
reciuid  la  voluntad, 
y  vos,  Duardo,  la  propia ; 
que  Finea  se  ha  cassado, 
y  Nise,  en  fin,  se  conforma 
con  Lisseo,  que  me  ha  dicho 
que  la  quiere  y   que  la  adora. 
Si  fue,  senor,  su  ventura, 
paciencia ;  que  el  premio  gozan 
de  sus  justas  esperanzas. 
Todo  eorre  viento  en  popa. 
Dare  a  Finea  la  mano. 
Dadsela,  boba  yngeniosa. 

Y  yo  a  Nise. 

Vos  tan  bien. 
Bien  merezco  esta  vitoria ; 
pues  le  he  dado  entendimiento, 
si  ella  me  da  la  memoria 
de  quarenta  mil  ducados. 

Y  Pedro,   pio  es  bien  que  coma 
algun  guesso  como  perro 

de  la  messa  destas  bodas? 
Clara  es  tuya. 

Yyo,  ^naci 
donde  a  los  que  nazen  lloran, 
y  rien  a  los  que  mueren  ? 
Celia,  que  fue  tu  debota, 
sera  tu  esposa,  Turin. 
Mi  bota  sera,  y  mi  nobia. 
A^os  y  yo  solo  faltamos. 
Dad  aca  esa  mano  hermosa. 
Al  senado  la  pedid, 
si  nuestras  f altas  perdona ; 


3155 


3160 


3165 


3170 


3175 


3180 


250  ACTO  TEECEHO 

que  a<iiii  para  los  discretos 
da  fill  la  Comcdia  hoha. 

Loado  sea  cl  santisimo  sacrament o 

Amen 
En  Madrid,  28  dc  Ahril,  de  1613 
Lope  de  Vega  Carpio  (ruhrica) 

Additions  in  connection  with  the  license  to  act : 

Yea  esta  comedia  el  secretario  Thomas  Grazian  Dantisco,  y  vista, 
nie  la  traiga.  En  Madrid,  a  26  de  otubre  de  16  (rest  illegible 
near  the  edge  of  the  page). 

Esta  comedia  intitulada  La  Dama  hoha  se  podra  representar, 
reservando  a  la  vista  lo  que  fuera  de  la  lectura  se  offreciere,  y  lo 
mismo  en  los  eantares  y  entremeses  y  bayles.  En  Madrid,  a  27 
de  8bre  1613. 

Thomas    Graeian   Dantisco. 

Dasse  lizencia  para  que  se  pueda  representar  esta  comedia  con- 
forme  a  la  censura.    En  Madrid,  a  30  de  otubre  de  1613. 

Podesse  representar  esta  comedia  intitulada  la  Dama  hoha  con 
entremes  y  bailes  honestos  [y  buenos?]    (no  date,  rest  illegible). 


LA  DAM  A  BOB  A  251 


NOTES 

ACTORS  AND  ACTRESSES 


On  the  actors  and  actresses  whose  names  Lope  himself  wrote 
opposite  the  various  dramatis  personae,  cf.  H.  A.  Rennert,  The 
8pa7iish  Stage  in  the  Time  of  Lope  de  Vega  (New  York,  1909). 
This  volume  contains  on  page  409ff.  an  alphabetical  "List  of 
Spanish  Actors  and  Actresses,  1560-1680."  Of  the  majority  of 
them  little  or  nothing  is  known.  The  chief  names  in  our  list  are 
the  actor  Cristobal  Ortiz  de  Villazan,  famoso  rcprescntante  (cf. 
Rennert,  p.  545),  and  the  actresses  Jeronima  de  Burgos  (pp.  268, 
438),  and  Maria,  who  may  have  been  either  Maria  de  Argiiello 
(p.  423)  or  the  able  and  skillful  Maria  de  Cordoba  (p.  456). 
The  latter  was  especially  famous  as  a  comedienne,  and  in  this 
comedy  (if  she  really  appeared  in  it),  had  the  hardest  part  to 
play,  namely  the  title-role.  Jeronima  de  Burgos,  on  the  other 
hand,  who  played  the  part  of  Nise,  was  no  less  famous,  being 
favored  by  the  devotion  of  Lope,  who  wrote  the  Dama  toha  for 
her.  The  preservation  of  the  manuscript  may  be  due  to  this 
fact.  Cf.  La  Barrera,  Nueva  hiografia  de  Lope  de  Vega  (Madrid, 
1890),  p.  271 ;  Rennert,  The  Life  of  Lope  de  Vega  (Philadelphia, 
1904),  pp.  172  and  244. 

The  first  scene  oj^ens  at  an  inn  of  the  village  of  Illescas 
(note  4). 

1.  Hildas:  all  editions  known  to  us  print  hurnas.  Lope  un- 
questionably abused  the  adjective  Undo  which  occurs 
frequently  enough  on  some  pages  to  justify  an  apology 
which  he  printed  in  the  dedication  of  la  Viuda  valcn- 
ciana:  "Muchos  se  ban  de  oponer  a  tan  linda  catedra: 
perdonen  los  criticos  esta  voz  linda;  que  Fernando  de 
Herrera,  honor  de  la  lengua  castellana  y  su  Colon 
primero,  no  la  desprecio  jamas  ni  dejo  de  alabarla,  como 


252  NOTES 

se  ve  en  sus  Comentos,  etc. ' '  The  reference  is  to :  Ohras 
de  Garcilasso  de  la  Vega,  con  anotaciones  (Sevilla, 
1580).  Cf.  also  Fernando  de  Herrera,  controversia  sohrc 
sus  anotaciones,  etc.  (Sevilla,  1870),  especially  p.  7,  ser. 
1,  vol.  2  of  the  Bibliofilos  andaluces. 

possadas:  cf.  also,  la  Nochc  tolcdana,  I,  xii: 

{el  Capitdn  Acehedo  y  el  Alferez  Carrillo,  de  camino; 
despues  el  hucsped.) 
"Alferez.         Buena  posada. 
Capitdn.  Y  quieta. 

Alferez.         Maiiana  lo  estara  mas.  ..." 
Lope  frequently  places  the  opening  of  an  act,  or  a  scene, 
in  a  hostelry  or  inn.    Cf.  el  Boho  del  colegio,  II,  iv. 

2.  chinches:  Hartzenbusch,  por  huenos  respetos,  we  may  pre- 
sume, changed  this  word  to  cuartos. 

4.  YUescas:  The  place  of  this  scene  was  once  a  popular  "half- 
way house"  between  Madrid  and  Toledo,  and  is  fre- 
quently mentioned  in  Spanish  plays.  Cf.  Lope,  el 
Ausente  en  el  lugar,  II,  i: 

"Mas,  por  Dios,  que  aunque  vestido 

ya  de  camino  te  vea, 

y  a  mi  con  esta  librea 

a  lo  flandesco  lucido, 

que  no  creo  que  de  Illescas 

has  de  pasar." 
In  the  play  Entre  hohos  anda  el  juego  by  Franciscd" de 
Rojas  Zorrilla,  the  second  act   opens  in  el  meson   de 
Illescas. 

Covarrubias  (in  Tesoro  de  la  lengua  castellana)  says, 
under  Illescas:  "De  esta  Villa  hizo  donacion  el  Rej^ 
Don  Alonso,  cerca  de  los  afios  de  mil  y  ciento  y  setenta 
y  seis  a  la  Santa  Iglesia  de  Toledo,  que  segun  parece 
aula  buelto  a  ser  de  la  Corona  Real,  para  que  los  Santos 
patronos  della  alcaneassen  de  nuestro  Seiior  vitoria,  y 


LA  DAMA  BOBA  253 

prospero  sucesso  de  la  giierra  que  pretendia  hazer  a  los 
Moros.  Oy  dia  (Covarrubias  wrote  this  only  a  few- 
years  previous  to  the  date  of  our  play)  esta  ilustrada 
esta  Villa  con  el  Santuario,  y  casa  de  oracion  de  vna 
Imagen  de  la  Virgen,  y  Madre  de  Dios,  que  comunmente 
llaman  nuestra  Seiior  de  Illescas."  Pascual  Madoz  (in 
Diccionario  geogrdfico-estadistico-historico  de  Espana, 
Madrid,  1847,  IX,  p.  421)  says:  "En  el  santuario  de 
Nuestra  Seiiora  de  la  Caridad  se  venera  la  imagen  de 
Nuestra  Seiiora  (que  es  una  de  las  que  San  Ildefonso 
tenia  en  su  oratorio)  y  fue  construido  a  espensas  del 
pueblo  por  los  ailos  de  1600 ;  fue  trazado  por  Domenico 
Teotocopuli,  conocido  por  El  Greco,  quien  ademas  hizo 
para  el  dos  escelentes  cuadros  que  aun  se  conservan  en 
sus  altares  colaterales  .  .  . ;  la  fama  de  los  milagros  de 
esta  imagen  ha  fijado  en  alto  grado  la  devocion  de  los 
fieles;  .  .  .  nuestros  monareas  .  .  .  han  hecho  muchos 
regalos  a  esta  Sefiora. " 

Although  this  village  has  lost  its  former  prosperity,  it 
deserves  a  visit  today. 

guindas:   cf.  Cervantes:    Persiles  y  Sigismunda,  III,  xxi; 
edition  Schevill-Bonilla,  II,  p.  194: 
" — ^Donde  vistes  vos,  seiiora — ,  dixo  Marulo — ,  a  mi 
hijo  Andrea?    ^Fue  en  Madrid,  o  en  Salamanca? 
— No  fue  sino  en  Illescas — ,  dixo  Ysabela — ,  cogiendo 
guindas  la  mafiana  de  San  Juan,  al  tiempo  que  albo- 
reaua ;  mas,  si  va  a  dezir  verdad,  que  es  milagro  que  yo  la 
diga,  siempre  le  veo,  y  siempre  le  tengo  en  el  alma. 
— Aun  bien — replico  Marulo — que  este  mi  hijo  cogiendo 
guindas,  y  no  espulgandose,  que  es  mas  propio  de  los 
estudiantes. "  Cf.  also  Covarrubias,  under  guindas. 

mentiras :  ' '  travelers '  yarns ' ' ;  the  reader  will  recall  the 
Spanish  saying,  de  lucngas  vias,  luengas  mentiras;  there 
are  many  scenes  or  episodes  in  Spanish  drama  and 
tiction,  in  which  we  find  travelers  of  everv  rank  and 


i4  NOTES 

si  at  ion  cxcliangiiig  their  experiences,  both  true  and 
otluTwise.  Inns  wonld  be  especially  suitable  for  such 
scenes. 

17.  i)i((Ji<J(is:  "Se  llama  assimismo  la  cinta,  que  se  corta  igual 
a  la  altura  de  la  imagen  6  estatua  de  algun  Santo,  en  que 
se  suele  estampar  su  figura,  y  las  letras  de  su  nombre  con 
])lata  u  oro.  Usase  por  devocion." — Diccionario  de  Au- 
toridadcs.  Bartolome  de  Villalba  y  Estaiia,  in  el  Fele- 
(jvino  curioso,  printed  in  the  Sociedad  de  Bihliofilos 
Espariolfs,  Madrid,  1886  tells  us  how  pious  pilgrims  were 
wont  to  buy  these  mcdidos:  "Despues  de  haber  cum- 
]>li(]o  eon  lo  que  es  de  esencia  en  la  pelegrinacion,  y 
liahcr  to)n(tdo  medidas  de  imagenes  que  alii  dan,  el 
Pelegrino  se  despidio  de  aquellos  padres  etc."  This 
refers  to  Nuestra  Senora  de  la  Pcna  de  Francia,  casa 
devoiisinia,  I,  p.  280. 

19.  Yma^enes:  Alonso,  mozo  de  muchos  amos  (cf.  el  Doctor 
Jeronimo  de  Alcala  Yaiiez  y  Rivera:  El  Donado  hahla- 
dor,  I,  chap.  5)  tells  us:  "Llegue  con  no  pequefia 
pesadumbre  a  Illescas,  y  sin  irme  a  meson  de  puro 
devoto  me  fui  derecho  a  visitar  el  sagrado  santuario 
de  tanta  estima,  y  con  mucha  razon  tan  famoso  en  toda 
Castilla,  de  la  sagrada  imagen  de  la  Madre  de  Dios, 
Seiiora  nuestra.  Adore  en  aquel  suntuoso  templo  de 
la  Caridad  a  la  Emperatriz  de  los  cielos,  considere  sus 
riquezas,  visite  su  grandiose  hospital,  remedio  de  tantos 
pobres  necesitados  del  favor  humano;  y  habiendome 
encomendado  al  Seiior  y  a  su  divina  providencia,  sali  a 
buscar  un  pedazo  de  pan." 

25.  postas:  "Los  cauallos  que  de  publico  estan  en  los  caminos 
eosarios  para  correr  en  ellos,  y  caminar  con  presteza 
....  Dixeronse  postas  por  estar  expuestas,  y  pre- 
venidas  para  qualquier  hora  y  tiempo.  Los  eosarios 
que  las  corren  se  llaman  correos :  los  que  guian  con  el  las 
Postillones. ' ' — Covarrubias. 


LA  DAM  A  BOB  A  255 

— ''Ay  Paula!  mi  bien  se  va. 
feEstara  en  las  pastas  ya?" 

"Carlos  se  fue :  yo  vi  pasar  las  postas" 

"Con  dolor  pico  la  posta, 
de  suerte  que  paso  cual  suele  el  rayo, 
que  apenas  de  la  vista  se  percibe." 

— Lope :   el  Ausente  en  el  lugar,  II,  ix,  xiii. 

Por  la  posta  has  also  acquired  the  meaning  "without 

delay, "  "  post-haste ' ' : 
— ' '  Pues  pierdan,  Celia,  el  pesar ; 
que  por  la  posta  en  un  coche 
conmigo  entonees  vendran." 

— -Alarcon:  las  Paredes  oijcn,  I,  xi. 
Cf .  also  below,  verses  890,  904. 

39.  nonhre:  Lope  also  writes  nomhre  (49)  ;  hamhre  (41)  and 
fiaiihre  (44)  as  rime  words  merely  represent  in  their 
different  spelling  a  very  common  inconsistency  in  all  of 
Lope's  autograph  manuscripts. 

44.  tozino  fianhre:  "fiambre,  quasi  friambre,  la  carne  que 
despues  de  asada,  o  cozida,  se  come  fria,  manjar  que  el 
estomago  le  abraca  muy  mal." — Covarruhias.  This 
may  account  for  Turin's  statement,  verse  38:  ay  a  quien 
pesa  de  oyr  su  nonbre. 

oO.   una  hermosa  caxa:  a  box  of  some  conserve,  possibly  of 
quince.    ' '  Algunas  mercaderias  ay,  las  quales  se  vend  en 
en  sus  caxas ;  y  assi  dezimos :    caxa  de  confitura,  caxa 
de  diacitron,  etc.'^ — Covarrubias. 
"  Giron.      ^Tienes  algo  que  me  dar, 
para  que  pueda  llevar 
alguna  consolacion? 
Elvira.     Cajas  de  conserva  ricas, 
y  una  bota  de  azahar." 
— Lope:   Scrvir  a  Solar  discreto.  II,  iii. 


2r)(i  NOTES 

Ct".  Ccrvaiitcs :  (I  IiufuiH  dichoso:  Comedias;  edition 
Schevill-Bonilla,  11,  p.  8;j,  vs.  27;  the  entremes  la 
Guarda  cuidadosa:  "Dile  una  destas  caxas  de  came 
de  membrillo,  muy  grande  etc.";  the  entremes,  el 
Vizcaino  fingido,  which  speaks  of  "una  caxa  de  con- 
serva."  In  verse  954,  below,  the  word  may  be  found 
again. 

53.  lizioncs:  here  means  "principles";  Covarrubias  under 
leer  has:  "letura:  lo  que  comunmente  se  le,  y  en 
escuelas  significa  materia;  leecion,  lo  mismo,  y  la 
doctrina  del  maestro." 

56-8.  las  da  mas  .  .  .  diuinas: 

— "Yo  no  imagino  que  estan 

desa  suerte  las  mujeres, 

sino  todas  cristaliuas, 

como  vn  vidro  trasparentes." 

— Lope:  el  Perro  del  liortelano,  I,  xii. 
The  idea  that  women  are  frail,  "as  brittle  as  glass" 
is  common  to  all  the  writers  of  the  Golden  Age.  In 
his  Novela  del  curioso  impertinente  Cervantes  states : 
"Quiero  dezirte  vnos  versos  que  se  me  han  venido  a 
la  memoria,  que  los  ohi  en  vna  comedia  moderna,  que 
me  parece  que  hazen  al  proposito  de  lo  que  vamos 
tratando.  Aconsejaua  vn  prudente  vie  jo  a  otro  padre 
de  vna  donzella,  que  la  recogiesse,  guardasse  y  ence- 
rasse.    Y  entre  otras  razones  le  dixo  estas :  *, 

— "Es  de  vidrio  la  muger 

pero  no  se  ha  de  prouar, 

si  se  puede  o  no  quebrar, 

porque  todo  podria  ser. 

Y  es  mas  facil  el  quebrarse ; 

y  no  es  cordura  ponerse 

a  peligro  de  romperse 

lo  que  no  puede  soldarse.  etc." 

— Don  Quixote,  1,  xxxiii,  fol.  189. 


LA  DAM  A  BOB  A  257 

64.  xalea:  "  Jalea,  vale  el  eiimo,  o  el  licor  del  merabrillo,  o  de 
otra  cosa  de  que  se  haze  conseriia,  la  qual  traiian,  y 
congelan  de  modo,  que  queda  transparente,  y  vale  tanto 
como  cosa  elada,  de  el  nombre  Toscano  giallo,  por 
yelo. ' ' — Covarrubias. 

.  .  ."Yo  se  hacer 
rica  conserva  y  jalea, 
con  que  darte  de  comer." 

— Lope :  Scrvir  a  Sefior  discreto,  III,  xxv. 

66.  con  dos  puntos  en  el  ayre:  The  printed  versions  all  read 
con  tres  puntos  en  el  aire.  I  have  found  no  passage  to 
illustrate  this  use  of  puntos.  My  learned  colleague,  Pro- 
fessor F.  0.  Reed  suggests  that  the  phrase  may  be  taken 
from  the  card-player's  terminology  and  mean:  she  will 
get  along  a  whole  week  (and  more,  that  is,  with  several 
points  to  spare)   on  sugar;  or,  with  two  stitches  loose. 

86.  estrihos  de  palo:  "Hay  tres  diferencias  de  estrihos.  De 
medio  celemin  o  media  luna  de  hierro  que  usan  los 
vaqueros;  son  para  la  guerra  los  mejores,  porque 
guardan  mas  el  pie  ...  .  La  segunda  es  de  palo  de  la 
misma  hechura,  todos  cerrados.  ...  La  tercera,  y  mas 
galana  es  de  los  marines,  de  hierro,  de  la  hechura 
ordinaria"  (from  Tapia  y  Salcedo-  Exercicios  de  la 
Gineta)  quoted  by  Leguina,  in  his  Glosario  de  voces  de 
Armeria  (Madrid,  1912),  p.  466. 

88.  merienda:  "en  rigor  vale  lo  que  se  comia  al  medio  dia, 
que  era  poca  cosa,  esperando  comer  de  proposito  a  la 
cena :  y  assi  se  dixo  merienda  quasi  meridiana,  o  antes 
quasi  merenda,  porque  se  daua  despues  de  auer  traba- 
jado,  quando  ya  se  merecia."  (Covarrubias) 

106.  Es  Madrid  vna  talcga  de  piczas:  Even  Sancho  Panza 
thought  the  comparison  of  liuman  beings  with  chess 
pieces  a  trifle  old. 


MS  NOTES 

''Braua  ('onii)ara('ion, — dixo  Sancho — ,  annque  no  tan 
nueiia,  que  yo  no  la  aya  oydo  nmchas  y  diuersas  vezes, 
eomo  aquella  del  juego  del  axedrez,  que  mientras  dura 
el  juego,  eada  pieea  tiene  su  particular  oficio,  y  en  aca- 
bandose  el  juego,  todas  se  mezelan,  juntan  y  barajan,  y 
dan  eon  ellas  en  vna  bolsa,  que  es  como  dar  con  la  vida 
en  la  sepultura. 

— Cada  dia,  Sancho — ,  dixo  don  Quixote — ,  te  vas  ha- 
ziendo  menos  simple,  y  mas  discreto. '' 

—Don  Quixote,  II,  cap.  12,  f.  41. 
Lope  had  used  the  comparison  before : 
' '  Bueno  vengo  desta  vez 

con  la  mascara  fingida  ; 

bien  parece  que  esta  vida 

es  un  juego  de  ajedrez. 

i  Oh  como  es  raudable  y  vana  ! 

Y  echase  en  esto  de  ver, 

que  una  pieza  blanca  ayer 

puede  ser  negra  manana. ' ' 

— los  Locos  de  Valencia,  II,  xiv. 

142.  a  gentiles  vistas  voij:    for  this  use  of  vistas  compare  the 
following  passages : 
'^Alejandro.      .  .  .  luego  quiero 

pedir  licencia  para  verla. 
Autilio.  En  todo 

tendremos  el  cuidado  necessario.  ^ 

Alejandro.    Si  en  estas  vistas  tengo  buena  estrella, 

fe  quien  caso  con  muger  tan  rica  y  bella  ? ' ' 
— Lope  :  las  Flores  de  Don  Juan,  III,  vii. 
Also: 

"Pues  hoy  seran  las  vistas,  y  amor  trace 
que  se  concluya,  pues  os  viene  al  justo." 

— Lope:   Quien  ama  no  haga  fieros,  I,  vi. 
This  word  belongs  to  a  stereotyped  social  vocabulary, 
with  the  special  meaning  of  "first  formal  interview"; 


LA  DAMA  BOBA  259 

it  generally  refers  to  the  first  interview  and  formal 
exchange  of  promise  of  marriage  between  lovers.  Cf. 
also  Velez  Guevara :  el  Diablo  cojuelo,  tranco  II,  for 
vistas  in  the  sense  of  "garments  for  a  bride,"  pp.  22 
and  244  of  Seiior  Bonilla's  admirable  edition  (Bibliofilos 
madrilenos,  Madrid,  1910). 

180.  hasilisco:  the  modern  reader  learns  with  interest  and 
amusement  that  Lope  and  his  contemporaries  really 
believed  in  this  fabled  creature.  Many  of  the  3Iis- 
celdneas  of  the  sixteenth  century  tell  all  about  its 
dangerous  qualities ;  Covarrubias  treats  it  seriously  in 
his  Tesoro,  presumably  because  it  was  heresy  to  doubt 
anything  stated  by  Pliny  in  his  Natural  History.  Pero 
Mexia  in  his  Silva  de  varia  lection,  II,  xxxix  says : 
' '  Otras  cosas  tienen  esta  oculta  virtud  [habla  de  propie- 
dades  secretas]  en  sola  vna  parte  de  si  proprias:  como 
...  el  basilisco  que  tiene  poncoiia  solamente  en  los 
ojos,  que  mata  con  su  vista. "  It  is  hard  to  see  what  the 
poetic  conceptistas  of  those  days  would  have  done  with- 
out the  basilisk.  The  dramatists  bring  him  into  the 
dialogue  frequently.    Compare,  for  example : 

Rey.  I  Que  mas  hechizos  que  ver  ? 

Don  Manrique.    Luego  ^ basilisco  ha  sido ? 
Rey.  No;  porque  es  su  condicion 

matar  mirando,  y  morir 
si  le  miran. 

Lope:  La  Corona  merecida  I,  vi. 

This  legendary  creature  has  fortunately  become  extinct 
in  modern  poetry.  An  interesting  article  on  the  basilisk 
in  Spanish  folklore  may  be  found  in  Folklore  Espaiiol: 
Bihlioteca  de  las  tradiciones  populares  espanolas 
(Madrid,  1884)  III,  pp.  13-83.  (Ant.  Machado  y 
Alvarez). 


KiO  NOTES 

185.  Lope  docs  not  indicalc  any  scenes  in  his  manuscript.  We 
arc  now  in  I\Iadrid  in  the  house  of  Oetavio,  presumably 
in  the  chief  living  room  of  the  house. 

210.  mas  me  pudrc  y  martiriza:  a  popular  usage:  '' Pudrcme, 
sobre  todo,  hallar  tan  continua  blasfemia  en  lenguas  de 
quienes  apenas  pueden  ser  eauallos,  quanto  mas  caua- 
lleros. "  Christoual  Suarez  de  Figueroa  :  el  Passagero 
(Madrid,  1617)  ;  reprinted  in  1914  in  the  series  Bibliu- 
filos  cspanolcs;  cf.  p.  277,  also  81.  ''Por  Dios,  senor 
nuestro  amo, — replico  Sancho, — que  vuessa  merced  se 
quexa  de  bien  pocas  cosas.  ^A  que  diablos  sc  pudre  de 
que  yo  me  sirua  de  mi  hazienda  .  .  .  ? 

—Don  Quixote,  II,  xlii,  f.  163r. 

216-40.  In  connection  with  this  whole  passage  the  modern 
reader  must  take  into  account  that  in  Lope's  day  men 
were  inclined  to  concede  to  women  only  a  very  retired 
and  unobtrusive  place,  whether  at  home  or  in  society. 
They  must  be  virtuous  above  all;  intelligence  was  of 
secondary  importance.  ''Miren  los  padres  las  obliga- 
ciones  que  tienen,  quiten  las  ocasiones,  consideren  de  si 
lo  que  murmuran  de  los  otros,  y  vean  cuanto  mejor 
seria  que  sus  mugeres,  hermanas  e  hijas  aprendiesen 
muchos  puntos  de  aguja,  y  no  muchos  tonos  de  guitarra: 
hien  gohernar  y  no  mucho  ~bailar,  que  de  no  saber  las 
mugeres  andar  por  los  rincones  de  sus  casas,  nace  ^i" 
a  hacer  mudanzas  a  las  agenas. " — Guzman  de  Alfaraclie, 
parte  2a,  libro  1°,  cap.  2. 

"Puede  un  hombre  situar  su  reputacion  en  letras, 
en  armas,  en  gobierno  y  en  virtud.  Pero  la  mujer  en 
sola  la  virtud  puede  fundar  su  honor ;  porque  ni  ellas 
son  menester  para  letras,  ni  para  jugar  las  armas  ni  salir 
con  ellas  al  enemigo,  ni  para  gobierno  que  pase  de  re- 
mendar   unas   mantillas   a   sus   criaturas,   y    dar   unas 


LA  DAMA  BOBA  261 

sopillas  a  los  gatos  de  casa;  y  si  mas  hacen,  es  meterse 
en  la  jurisdiccion  de  sus  maridos  y  dueiios." — Gaspar 
Lucas  Hidalgo:  Didlogos  de  apacihle  entretenimicnto, 
III,  cap.  3. 

' '  Propio  de  la  muger  es  oir  y  obedecer  al  marido,  en 
cuya  potestad  se  halla ;  mas  ha  de  ser  tratandola  ni  como 
a  cabeea  ni  como  a  pies,  sino  como  a  la  parte  y  lado  de 
donde  fiie  formada,  que  fue  de  vn  medio,  y  medio  cer- 
cano  al  coracon"  .  .  .  (p.  213).  ''Su  mas  perfeta  her- 
mosura  es  la  verguenza,  puesto  que  la  corporal  mas 
superior,  en  poco  espacio  de  tiempo,  o  por  breue  en- 
fermedad  se  pierde.  .  .  .  Afirma  san  Geronimo  serle 
al  liombre  concedido  por  diuersas  vias  don  particular 
para  adquirir  honra,  fama  y  nombre :  a  vnos  con  letras, 
a  otros  con  armas,  a  muchos  con  diferentes  artes;  mas 
a  la  muger  solamente  se  concedio  hazerse  en  el  mundo 
eterna  con  la  verguenca,  honesta  y  casta."  (p.  271)  — 
El  Passagero,  op.  cit.  These  commonplace  teachings 
repeat  the  gist  of  what  may  be  found  in  many  a  con- 
temporary sermon,  and  in  their  last  analysis  go  back  to 
the  doctrines  of  the  great  church  fathers  themselves. 

231.  ensenar:   the  MS.,  ansenar. 

254.  Otahio:  the  MS.  has  Ma,  for  the  usual  Ota. 

259.  que  le  falfa  [a]  Miseno:  a  is  often  mechanically  omitted 
when  another  vowel  (generally  a),  precedes  or  follows; 
cf.  Cervantes:  "no  madrugamos  a  dar  memoriales,  ni 
acompanar  magnates." — la  Gitanilla  (first  edition)  ; 
"dexo  mudos  a  los  dos  amigos  que  escuchado  la  auian, 
especialmente  Avendaiio"  .  .  . — la  ilustre  Fregona 
(first  edition)  ;  "el  no  salio,  boluile  a  esperar,  boluio 
a  no  salir,  y  boluiose  acostar." — Don  Quixote,  II,  cap. 
17,  f.  63r.  "Yo  me  obligo  con  ella  eercenar  vn  copo  de 
lana." — Lazarillo  de  Tonnes,  III. 


262  NOTES 

279.  EUodoro:  Lope  frequently  refers  to  the  romance  of  Thca- 
gencs  and  Chariklca.  In  his  la  Noche  de  Sau  Juan,  Don 
Juan  says: 

"No  cuenta  cosas  tan  varias 

de  Clariquea  Heliodoro; 

las  de  Teagenes  passan 

en  afios,  pero  las  niias 

en  vna  noche." 

—Ill,  f.  89r.  (ed.  1). 
Cf.  also  Lo  que  ha  de  ser,  1,  xiv;  de  Cosario  a  cosario, 
III,  i,  and  his  very  mediocre  novela:  las  Fortunas  de 
Diana  (near  the  beginning)  ;  la  Dorotea,  III,  i.  On 
Heliodorus,  ef.  Schevill:  The  Question  of  Heliodorus, 
in  Studies  in  Cervantes,  II,  printed  in  Modern  Phil- 
ology, IV,  4,  April,  1907;  also  Lope  de  Vega:  Novelas; 
edited  by  J.  D.  Fitz-Gerald  and  Leora  A.  Fitz-Gerald, 
in  Ronianische  Forschungen,  XXXIV  (1913),  p.  4  and 
note. 

285.  Es  que  no  se  da  a  entender 

con  el  artificio  griego 

hast  a  el  quinto  lihro:  Heliodorus  introduces  the  reader 
in  niedias  res.  We  first  learn  of  the  adventures  of  hero 
and  heroine  in  Egypt,  and  elsewhere,  but  not  until  the 
fifth  book  do  we  learn  how  the  lovers  fell  into  the  situa- 
tion with  which  the  first  book  opens.  On  the  artificio 
griego,  cf.  the  anonymous  translation  of  Heliodoi'us, 
printed  at  Antwerp  in  1554:  Historia  ethiopica  de 
Heliodoro,  a  portion  of  the  prologue  of  which  (p.  4) 
Nise  repeats.  An  excellent  work  on  the  subject  is  Der 
griechische  Roman  und  seine  Vorlaufer  (ed.  2,  Leip- 
zig, 1900),  by  Erwin  Rohde. 

292.  digna  de  aplauso  y  teatro:  plays  based  on  this  story  were 
written  by  Perez  Montalban,  and  Calderon,  but  its 
theme  of  love  and  adventure  was  ill  suited  to  the  stage. 


LA  DAM  A  BOB  A  2(53 

298-302.  Nise  and  her  circle  are  devotees  of  the  various  poetic 
fads  then  in  vogue,  known  as  conceptismo,  and  culte- 
ranismo,  which  will  be  referred  to  again  below.  Lope 
frequently  ridicules  this  ' '  new  style ' '  of  verse.  See  the 
introductory  essay  also. 

307ff.  The  humor  of  this  scene  recalls  that  of  Moliere's  Le 
Bourgeois  GentilJiomme,  II,  vi,  where  the  maitre  de 
philosophie  says:  "Pour  bien  suivre  votre  pensee,  et 
traiter  cette  matiere  en  philosophe,  il  faut  commencer, 
selon  I'ordre  des  choses,  par  une  exacte  connaissance  de 
la  nature  des  lettres,  et  de  la  differente  maniere  de  les 
prononcer  toutes."  And  thereupon  M.  Jourdain  has 
a  lesson  in  the  vowels  and  consonants  of  the  alphabet. 

317-8.  El  alha  dehe  de  ser 

quando  andaua  entre  las  coles:  "vn  dicho  comun  que 
traemos  a  proposito,  quando  vno  pregunta  con  descuydo, 
y  paciencia :  i,  que  es  aquello  ?  siendo  cosa  en  su  per- 
juizio,  le  responden :  No  es  sino  el  alba,  que  anda  entre 
las  coles.  Para  declararme,  presupongo  que  los  gentiles 
hazian  a  la  aurora  vna  deidad,  figurandola  como  vna 
ninfa  muy  herraosa,  vestida  de  bianco,  y  rociada  de 
aljofar  .  .  . ;  y  vna  hortelana,  auiendose  entretenido  con 
vn  amigo,  detuvose  mas  de  lo  que  fuera  razon  para  no 
ser  visto,  y  saliase  de  la  huerta.  Ya  que  amanecia,  el 
marido  que  se  levanto  y  vio  el  ruido  que  hazia,  sa- 
liendo  por  entre  la  hortaliza  a  gatas,  llamo  a  su  muger 
muy  maravillado,  y  dixole  :  Muger,  i  es  persona  aquella 
que  va  haziendo  ruido  1  Respondio  ella :  No  es  sino  el 
alba  que  anda  entre  las  coles."  (Covarrubias).  Cf.  also 
Lope :  el  Acero  de  Madrid,  II,  xvi ;  la  Dorotca,  IV,  v ; 
Cuento  de  Cuentos,  in  Ohras  de  Don  Francisco  de 
Quevedo  (Rivadeneyra),  II,  p.  407. 

335.  acordaua:  the  MS.,  acordoua. 


NOTES 


387.  The  mamisc'rii)t  has  an  interrogation  point ;  this,  or  any 
punctuation,  is  very  rare  in  Lope's  autograph  manu- 
scrijits. 

360.  Tlie  printed  versions  have:  clilo;  as  the  original  plainly 
has  dila,  the  la  naturally  refers  to  causa.  359. 

370.  Cas:  Quevedo,  in  ridiculing  the  abuse  of  some  words  says: 
''^Hay  eosa  tan  mortal  como  zas?    Mas  han  muerto  de 
zas  que  de  otra  enfermeded ;  no  se  cuenta  pendencia  que 
no  digan  :     Y  llega,  y  zas  y  zas,  y  cayo  luego  ? ' ' 
— Cuento  de  Ciicntos  (dedication),  op.  cif..  p.  402. 

387.  pieza  de  Reij:  ''Se  llama  eomunmente  el  truhan  o  buf on : 
assi  al  que  es  sabandija  palaciega,  se  dice  que  es  pieza 
de  Rey." — Diccionario  de  Autoridades,  which  cites 
Quevedo :  "  ^  Que  traes  ? — dixo  el  entremetido.  Re- 
spondio  : — Estos  dos. — i  Quien  son  ? — Un  hablador  y 
un  lisonjero  y  vano:  son  piezas  de  rey,  y  por  eso  los 
traigo  al  nuestro. — Violos  Lucifer  con  asco,  y  dixo  : — ;  Y 
como  si  son  piezas  de  reyes!  Mas  aunque  rey  diablo  y 
diablo  y  archidiablo,  no  gusto  desta  gente." — cl  Entre- 
metido y  la  duena  y  el  soplon,  in  Ohj-as.  op.  cit.,  I.  p. 
378.  Lope  uses  the  phrase  to  mean  hoha,  or  simpleton ; 
cf.: 

''La  tristeza  i^ 

que  oprime  tanta  belleza 

nos  ha  obligado  a  sacar 

este  del  Colegio  Viejo ; 

que  es  pieza  de  Rey." 

— el  Boho  del  Colegio,  II,  xvi. 
Cf.  also  Tirso  de  Molina :  Por  el  Sotano  y  el  Torno,  I,  iv. 
In  la  Gitanilla  of  Cervantes  we  read:    "yo  dare  traza 
que  sus  Magestades  te  vean,  porque  eres  pieza  de  reyes." 


LA  DAM  A  BOB  A  265 

395.  sc  te  sale  el  alma:  "Y,  dando  vn  gran  suspiro,  se  le  salio 
el  alma. — Persiles  y  Sigismunda,  op.  cit.  I,  cap.  10,  vol. 
I,  p.  75. 

402.  en  todas  las  criadas:  en  for  entre  is  not  uncommon  in 
Lope's  day:  "En  estas  platicas,  y  en  otras  semejantes, 
llegaron  al  lugar  a  la  hora  que  anocheeia." — Don 
Quixote,  I,  cap.  5,  f.  16  v.  Some  commentators  com- 
plete the  phrase  by  inserting  "ocupados  en  estas  pla- 
ticas" which  is  unwarranted. 

405.  pariu:  wherever  Lope  has  an  accent  in  his  manuscript,  I 
have  left  it ;  usually  at  the  end  of  a  verse. 

415.  con  la  lihrea  del  rey 

Colorado  y  amarillo:  Cesareo  Fernandez  Duro,  in  his  ad- 
mirable work,  Disquisiciones  nauticas  (Madrid,  1876,  I, 
p.  259),  speaking  of  the  marriage  of  Ferdinand  and 
Isabella  (1469)  adds:  "se  habian  fundido  las  diversas 
nacionalidades  de  la  Peninsula  en  dos  agrupaciones 
designadas  con  los  nombres  de  Castilla  y  Aragon:  al 
refundirse  en  una  sola,  al  adoptar  un  simbolo  comun, 
logico  era  que  se  tom^ran  los  elementos  principales. 
Ahora  bien:  Castilla  blasonaba  castillo  de  oro  en  campo 
de  gules  o  rojo  y  Aragon  cuatro  barras  o — hablando 
con  mas  propiedad  heraldica — cuatro  palos  o  hastones 
de  gules  en  campo  de  oro,  esto  es,  identicos  colores,  de 
manera  que  sin  abdicacion  por  ninguna  de  las  partes 
se  ofrecia  por  si  misma  la  combinacion  del  rojo  y  ama- 
rillo u  oro  para  continuar  siendo  los  colores  nacio- 
nales.  .  .  .  Dije  que  las  libreas  de  particulares  y  los 
trajes  uniformes  de  los  servidores  del  Estado  estan  inti- 
mamente  relacionados  con  los  escudos  respectivos,  y 
caen  bajo  el  dominio  de  la  Heraldica.  .  .  .  Los  trajes 
militares  del  reinado  del  Emperador  consistieron  en 
jubon,  calzas  y  gorra  rojos  acuchillados  de  amarillo.  En 
tiempo  de  Felipe  II  vistio  la  infanteria  de  amarillo,  con 


!i)()  NOTES 

cufliillos  rojos.  Asi  ostA  i)i'»'S('iita(la  on  la  ])iiitin'a  de 
San  Quintin  de  la  Sala  de  batallas  del  Escorial  .  .  . 
P\4ipe  IV  snprimio  las  ealzas  acnchilladas,  snstituyen- 
dolas  con  gregiieseos  y  medias  ealzas  de  lana,  cuerpo  de 
jnbon  eon  faldetas  y  sombrero  de  fieltro  a  la  walona. 
El  jnbon  y  gregiieseos  eran  amarillos  y  las  medias  ealzas 
rojas,  segnn  nna  pintnra  qne  posee  en  Lorca  el  general 
Musso. ' ' 

417.  carr<  tones:     "carreton,    diminutiuo    de    earreta :     este    le 

lleua  vna  sola  bestia,  y  si  es  earreton,  o  carretoneillo  de 
pobre,  le  lleua  vna  persona ;  y  ya  yo  le  he  visto  tirar  de 
dos  perros,  y  de  vno." — Covarrubias. 

418.  .  .  .  el  romadizo 

que  da  la  noche  a  Madrid: 
"D.  Juan.        Conozco  aquel  romanee,  y  qnien  le  hizo. 
TcUo.  El  tiplaco  es  lechon  con  romadico. 

D.  Juan.        Serenos  de  Madrid  causan  catarro. 

Lope:   La  Noche  de  San  Juan,  III,  f.  83v. 

421.  la  calle  Mayor:  The  noted  playwright  Ruiz  de  Alareun  has 
an  entertaining  passage  on  this  street : 
^^Leonor.  j  Calle  Mayor  !    j  Tan  grandees 

que  iguala  a  su  nombre  y  f ama  ? 
Clara.  Direte  por  que  se  llama 

la  calle  Mayor. 
Leonor.  Di  pues.  ^ 

Clara.  Filipo  es  el  rey  mayor, 

Madrid  su  eorte,  y  en  ell  a 

la  mayor  y  la  mas  bella 

calle,  la  calle  Mayor. 

Luego  ha  sido  justa  ley 

la  calle  Mayor  llamar 

a  la  mayor  del  lugar 

que  aposenta  al  mayor  rey. 
Leonor.         Bien  probaste  tu  intencion. 


LA  DAMA  BOBA  2 

Entre  Redondo. 

Rcdondo.      Ya  q^^e  a  tal  tiempo  llegue, 

con  tu  licencia  dire 

tarabien  mi  interpretacion. 
Clara.  Dila. 

Redondo.  La  ealle  Mayor 

pienso  que  se  ha  de  llamar, 

porque  en  ella  ha  de  callar 

del  mas  pequefio  al  mayor ; 

porque  hay  arpias  rapantes, 

que,  apenas  un  hombre  ha  hablado, 

cuando  ya  lo  han  condenado 

a  tocas,  cintas  y  guantes : 

y  un  texto  antiguo  se  halla 

que  dijo  por  esta  calle : 

'  ealle  en  que  es  bien  que  se  calle ; 

que  no  medra  quien  no  calla.'  " 

— Mudarse  por  mejorarsc,  I,  x,  xi. 

The  following  extract  is  from  Tirso  de  Molina: 
'Da.  Bernarda.  ^. Como  se  llama  esta  calle? 
Santillana.        La  calle  de  las  Carretas. 

Es  ombligo  de  la  corte  ; 

la  Puerta  del  Sol  aquella ; 

la  Vitoria  al  cabo  de  ella  ; 

y  a  la  otra  acera  es  su  norte 

el  Buen  Suceso ;  alii  enfrente 

el  Carmen ;  a  man  derecha 

la  calle  Mayor,  cosecha 

de  tod a  buscona  gente : 

San  Felipe  a  la  mitad : 

Puerta  de  Guadalajara 

arriba,  de  quien  contara 

lo  que  puede  una  beldad  ; 

pues  por  mas  que  un  bolsillo 

es  como  dar  con  el  tore ; 


268  NOTES 

y  cobrando  en  plata  ii  oro, 
iniga  en  cuartos,  si  es  que  paga." 

— Por  el  Sotano  y  el  Torno,  I,  vi. 
See  also  in  Lope's  el  Acero  de  Madrid,  I,  xiii,  the 
speech  of  Beltran. 

If  the  witticisms  and  descriptions  dealing  with  this 
famous  street  were  to  be  gleaned  from  the  dramatists 
alone,  a  comprehensive  history  of  the  life  and  activities 
of  the  calle  Mayor,  and  even  of  the  entire  capital  could 
be  written.  Cf.  also  Mesonero  Romanos:  El  antiguo 
Madrid  (Madrid,  1861),  p.  76ff.,  116ff. ;  Ricardo  Se- 
pulveda:  Madrid  vie  jo  (Madrid,  1887),  pp.  193ff. 

424.  taut  OS  seruizios:  Owing  to  the  absence  of  sewers,  refuse 
and  garbage,  dirty  water  and  worse  were  frequently 
thrown  into  the  streets,  and  not  onlj^  at  night.  The 
law  required,  however,  that  a  warning  agua  va  be 
shouted  before  anything  was  thrown  out.  The  un- 
suspecting passer-by  could  then  scurry  into  the  nearest 
doorway  until  the  shower  was  over.  References  to  this 
incredible  habit  are  common  enough  in  the  writers  of 
Lope's  day.  "Un  bellacon,  mozo  de  coeina  (que  debia 
de  estar  fregando)  pusose  a  una  ventana,  y  echome  por 
cima  un  gran  pailon  de  agua  hirviendo,  y  cuando  la 
tuve  a  cuestas,  dijo  muy  despacio:  Agua  va,  guardaos 
dehajo.  Comence  a  gritar,  dando  voces  que  me  habian 
muerto. " — Guzman  de  Alfaraclie,  parte  la,  libro  3°, 
cap.  3.  ^ 

' '  i  Que  sin  dezir  al  que  passa 
agua  va,  las  desta  cassa 
derramen  vn  orinal ! ' ' 

Gongora:   el  Doctor  Carlino,  II  (fragment). 
Cf.  la  Casa  de  los  Celos,  by  Cervantes,  a  popular 
song  (Act  II)  : 

"Derramastes  el  agua,  la  nina. 
y  no  dixistes:   jAgua  va! 
La  justicia  os  prendera." 


LA  DAMA  BOBA  269 

In  la  Guarda  cuidadosa  of  Cervantes,  the  sacristan 
asks  the  soldier  in  what  way  Cristina,  the  housemaid,  has 
received  his  many  favors,  and  the  latter  replies: 

"Con  .  .  .  derramar  sobre  mi  las  lavazas  cuando  ja- 
bona,  y  el  agua  de  fregar  cuando  f riega ;  y  esto  es  cada 
dia,  porque  todos  los  dias  estoy  en  esta  calle  y  a  nu 
puerta."  See  also  the  dialogue  in  Lope's  el  Villa  no  en 
su  Rineon,  II,  vii,  not  unlike  that  in  the  entrcyn's  of 
Cervantes. 

As  regards  the  particular  meaning  of  sevvicio  in  our 
play  compare :  ' '  Una  moza  de  fregar,  dadas  las  once 
de  la  noche,  saco  el  servicio  de  sus  amos  a  la  calle,  y 
por  quitarse  de  ruidos,  vaciole  a  la  puerta  de  un  vecino 
que  haeia  y  vendia  esteras  de  esparto  y  de  paja  (oficio 
que  comunmente  se  halla  entre  discipulos  del  Alcoran), 
y  como  por  el  mal  olor  viniese  a  noticia  del  hombre  el 
desacato  de  la  moza,  salio  muy  enojado,  diciendo: — 
i  0  bellaca  fregona,  nunca  otro  eches  en  tierra  de  cris- 
tianos ! — Dijo  la  moza: — Por  eso  le  vacie  yo  a  vuestra 
puerta." — Caspar  Lucas  Hidalgo:  Didlogos,  I,  cap.  4. 
"Tenia  por  costumbre  el  viejo  burlon  de  levantarse 
casi  cada  noche  al  servicio ;  y  el  of endido  Bartolo,  que 
no  ignoraba  esta  costumbre  de  su  viejo,  la  noche 
siguiente,  cuando  le  sacaba  a  la  calle  para  limpialle, 
antes  de  acostarse  el  cura,  en  lugar  de  limpialle,  como 
solia,  le  puso  toda  la  redondez  esmaltada,  etc."  Ibid., 
II,  cap.  4. 

' '  Abrio  un  mozo  la  ventana  de  arriba  con  un  candil 
encendido  en  la  mano  y  un  tocador  en  la  cabeza  entre 
sucio  y  roto,  diciendo :  No  hay  posada.  hermano ;  vaya 
con  Dios,  y  menos  golpes ;  que  le  coronara  por  necio  un 
orinal  de  seis  dias." — Tirso  de  Molina:  los  Tres  maridos 
hurlados,  2a  burla. 

Quevedo,  in  his  Vida  del  Buscon  uses  the  word  with 
the  double  meaning  found  in  the  play :  " ;  Que  estima- 
ban — dijo   [el  soldado]   muy  enojado — si  he  estado  yo 


270  NOTES 

seis  ineses  pretendiendo  una  bandera,  tras  veinte  aiios 
de  servicio  del  rey.  como  lo  dicen  estas  heridas!  .  .  . 
Pregunte  v.  m.  en  Plandes  por  la  hazaiia  del  Mellado, 
y  vcrA  lo  que  dizen. — .  ,  .  El  soldado  llamo  al  hues- 
\)v(\  y  le  encomendo  sus  papeles  eon  las  eajas  de  lata 
que  los  traia.  .  .  .  Hizose  hora  de  levantar;  [el  sol- 
dado]  pidio  luz  muy  aprisa ;  trajeronla,  y  el  huesped 
el  envoltorio  al  soldado,  y  olvidaronsele  los  papeles.  El 
pobre  Alferez  hundia  la  easa  a  gritos,  pidiendo  que 
se  le  diese  los  servieios.  El  huesped  se  turbo ;  y  como 
todos  deciamos  que  se  los  diese,  fue  corriendo,  y  trajo 
tres  bacines,  diciendo : — He  aqui  para  cada  uno  el  suyo. 
^, Quieren  mas  servieios? — entendiendo  que  nos  habian 
dado  camaras.  Aqui  fue  ella ;  que  se  levanto  el  soldado 
eon  la  espada  tras  el  huesped,  en  camisa,  jurando  que 
le  habia  de  matar  porque  hacia  burla  del  (que  se  habia 
hallado  en  la  Naval,  San  Quintin  y  otras),  trayendole 
servieios  en  lugar  de  los  papeles  que  le  habia  dado." 
I,  cap.  10. 

•425.  .  .  .  agua  ardiente, 

agiia  viznicta  del  vino:  so  called  by  Lope  because  it  was 
distilled  from  wine.  "Es  la  que  por  artificio  se  saca 
del  vino,  de  sus  heces,  del  trigo,  y  de  otras  cosas." — 
Diccionario  de  Autoridades. 

427.  los  honhrcs  carnestolendas:   In  d  Accra  de  Madrid.  Bel- 
tran  says :  »< 

"Franceses,  que  pregonais 
aguardiente  y  letiiario." 
For  the  noise  and  revelry  of  carnival  time,  hinted  at  in 
lines  425-8,  see  Gaspar  Lucas  Hidalgo:   Didlogos,  espe- 
cially the  romance   recited  by   Castaiieda  in  the  last 
chapter,  beginning: 

''Martes  era,  que  no  lunes, 
martes  de  Carnestolendas  etc." 


LA  DAM  A  BOB  A  271 

There  is  also  a  very  characteristic  description  from 
the  pen  of  Quevedo  in  his  Vida  del  Buscon,  I,  cap.  2,  be- 
ginning: "Llego,  por  no  enfadar,  el  tiempo  de  las 
Carnestolendas  etc. ' '  These  passages  are,  of  course,  con- 
ceived in  the  popular  and  less  decent  spirit  of  carnival. 
In  Moreto:  el  Desden  con  el  desden,  II,  iii,  carnesto- 
lendas are  presented  with  a  dignified  and  courtly  spirit 
in  a  sarao.  The  scene  begins : — 
Miisicos.        "Venid  los  galanes 

a  elegir  las  damas, 

que  en  Carnestolendas 

amor  se  disfraza. 

Falarala,  larala,  etc." 
Lope  finished  this  play  in  April ;  he  may,  therefore, 
have  been  writing  this  passage  at  carnival  time. 

430.  despertauan  los  offizios:  trades  people,  craftsmen,  etc.  The 
oficial  is  here  contrasted  with  the  moneyed  or  aristo- 
cratic class  (rentas).  "He  tenido  y  servido,  como  dicen, 
siete  oficios,  aprendiz,  oficial,  despensero,  criada,  y  criado, 
mayordomo  y  escudero. " 

— el  Donado  haMador,  op.  cit.,  II,  cap.  10. 
"Tristan.         Pues  ^que  falta  a  Garceran? 
Fulgcncia.    Ventura. 
Tristan.  Y   ^que  mas? 

Fulgencia.  Dinero. 

Garceran.      Por  esa  faltilla  sola 

hay  en  el  mundo  escuderos, 
duenas,  pajes  y  lacayos, 
oficiales  y  hombres  buenos, 
y  poetas  hay  tambien." 

— Lope :  el  Boho  del  Colegio,  III,  xxii. 
"Mando  Pelayo  salir 
a  todos  los  oficiales. 
Que  saldrian,  respondieron, 


272  NOTES 

do  biu'ua  gaiia  los  sastres 

a  jiclcar  con  los  moros." 

— el  Premio  del  hi<n  JnthUir.  Ill,  iv. 
''Ciiando  los  cspanoles  alcanzamos  un  real,  sonios  priii- 
cipes,  y  auiuiue  nos  falto,  iios  lo  hace  creer  la  presuncion. 
Si  preguntais  a  un  mal  trapillo  qnien  es,  responderos 
ha  por  lo  inenos,  ({ue  deseiende  de  los  godos,  y  que  su 
corta  suiTte  lo  ticuie  arrinconado,  siendo  propio  del 
mundo  loco  levantar  a  los  bajos  y  bajar  a  los  altos ;  pero 
que  aunque  asi  sea,  no  dara  a  toreer  su  brazo  ni  se 
estimara  en  menos  que  el  mas  preciado,  y  niorira  antes 
de  hambre,  que  ponerse  a  un  oficio;  y  si  se  ponen  a 
aprender  alguno,  es  con  tal  desaire  que,  o  no  trabajan,  o 
si  lo  hacen,  es  tan  mal,  que  apenas  se  hallara  un  buen 
ofcial  en  toda  Espana." — Luna,  Lazarillo  de  Tormes, 
cap.  7.  It  would  be  worth  while  to  identify  this  Luna. 
His  tale  is  an  interesting  patchwork  of  phrases  and 
episodes  taken  from  other  authors.  I  am  inclined  to 
believe  that  the  name  Juan  de  Luna  is  not  a  nom  de 
plume;  that  he  was  merely  a  teacher  of  Spanish  and  in- 
terpreter in  Paris  and  London.  After  reading  carefully 
his  three  books:  Dialog os  familiares  (in  Spanish  and 
French,  Paris,  1619),  his  Arte  hreve  i  Compendiosa  para 
aprender  a  leer,  escreiiir,  pronunciar  y  hdhlar  la  lengua 
espanola  (London,  1623),  and  his  Lazarillo  de  Tormes 
(Paris,  1620),  one  is  impressed  chiefly  by  his  lack  of 
originality,  and  his  cleverness  in  putting  together  mate- 
rial gathered  from  other  writers. 

431.  tocauan  los  hoticarios 

sus  almirezes  apino:  "the  apothecaries  clanged  their  brass 
mortars."  The  phrase  is  used  of  bells:  "empinar  la 
campana,  o  taiierla  a  pino,  es  leuantarla  en  alto." — 
Covarrubias,  under  pina. 

Pages:    Gran  Diccionario  de  la  Lengua  Castellana 
quotes  Quevedo  under  almirez  without  exact  reference : 


LA  DAMA  BOBA  273 

"El  clamor  del  que  muere  empieza  en  el  almircz  del 
boticario  .  .  .  acabase  en  las  campanas  de  la  iglesia." 
"^Y  que  gusto  me  apercibe 
un  almirez  al  moler, 
y  un  lacayo  al  patear?" 
— Alarcon :    No  hay  mcil  que  por  hieii  no  voiga, 
I,  xiv  (Bonilla's  excellent  edition,  p.  54). 

437.  Oziquimoeho:  The  names  of  these  cats  recall  those  of 
Lope's  Gatomaquia,  some  of  which  are:  Zapaquilda, 
Marramaquiz,  Maulero,  Micifuf,  Bufalia,  Garraf,  Gar- 
fiilanto,  Micilda,  Zapiron,  Tragapanzas,  Golosillo,  Lame- 
platos,  and  others. 

441.  hahJahan:    the  imperfect  with  6  instead  of  u   (-auan)   is 

rare  in  Lope's  manuscripts. 

442.  en  tiple:    "  [las  gatas]  maullando  en  tiple,  y  el  gatazo  en 

bajo. " — la  Geitomaquia,  silva  2. 

443.  gerigonza:   jargon,  gibberish;    "vn  cierto  lenguage  parti- 

cular de  que  vsan  los  ciegos  con  que  se  entienden  entre 
si.  Lo  mesmo  tienen  los  gitanos,  y  tambien  forman 
lengua  los  rufianes,  y  los  ladrones  que  llaman  Germania. 
Dixose  gerigonca,  quasi  gregigonca,  porque  en  tiempos 
passados  era  tan  peregrina  la  lengua  griega,  que  aun 
pocos  de  los  que  professauan  facultades  la  entendian,  y 
assi  dezian  hablar  griego  el  que  no  se  dexaua  entender 
etc." — Covarrubias.  The  word  has  been  much  dis- 
cussed, but  the  poor  guess  of  the  Spanish  lexicographer 
can  be  replaced  only  by  the  equally  unsatisfactory 
modern  conclusion  ' '  of  uncertain  origin  "  ( cf .  Murray 's 
New  English  Dietionarg,  under  jargon)  ;  also  verse  918. 

449.  lo  que  arrastra  honra:  "base  de  entender  que  las  ropas 
rozagantes,  y  que  llegauan  al  suelo  antiguamente,  las 
traian  los  Reyes,  y  persona jes  muy  graues;  y  por 
vestido  honroso   se   da   a   los   clerigos   que   no   pueden 


L'74  NOTES 

trat'i-  vcstido  (\ur  no  llcguc  por  lo  ineiios  al  tovillo.'' — 
Covarnibias.  Corroas:  Vocabulario  de  Refranes,  etc., 
lias  the  plirase,  "lo  que  arrastra  honra,  y  arrastrabanle 
las  tripas"  (p.  198). 

"No  se  diga  que  lo  que  arrastra  honra  ;  sino  al  eontrario, 
que  lo  que  honra  arrastra  y  trae  a  rauehos  mas  arras- 
trados  que  sillas. "    Gracian,  el  Cnticon,  parte  3a,  crisi 
vi  (Cejador's  edition,  Madrid,  1914),  II,  p.  229. 
"Si  es  largo  eomo  la  historia, 
arrastrara  por  el  suelo ; 
pero  lo  que  arrastra  honra." 

Lope:  Santiago  el  Verde,  III,  vii. 

459.  2;ms:  "haca  remendada ;  vienen  de  las  Islas  Setemptrio- 
nales  para  seruicio  de  los  Reyes  y  grandes  senores.  El 
nombre  es  de  la  tierra  y  lengua  de  donde  vienen." — 
Covarrubias.  Compare  French  pie,  and  cheval  pie,  and 
English  pied  and  piebald. 

484.  correr  gansos  cinco  a  cinco:  "Correr  el  ganso,  regozijo  que 
se  haze  por  carnestolendas,  atandole  en  vna  soga  en 
medio  de  la  calle;  los  que  passan  corriendo  proeuran 
arrancarle  el  pescuezo,  y  como  esta  bien  trauado  suele  a 
vezes  arrancarlos  el  de  la  silla." — Covarrubias.  The 
first  reading  of  the  manuscript  was  correr  lanzas,  which 
Lope  corrected,  writing  gansos  over  lanzas.  The  printed 
versions  all  have  canas. 

512.  Sibila  critrea:  The  sibyl  of  Erythrae,  one  of  the  twelve 
chief  cities  of  Ionia,  Asia  minor. — Cicero:  De  Divina- 
tione  ad  M.  Brutum,  I,  18,  speaks  of  her. 

"^No  es  conocido  [Christo,]  mirad, 

a  las  sibilas,  poetas 

diuinas,  que  del  escriuen 

heroycos  y  altds  poemas? 

Mirad  lo  que  dizen  del 

la  libica  y  la  eritrea, 

la  de  Cumas,  la  de  Arabia  etc." 


LA  DAM  A  BOB  A  275 

— Velez  de  Guevara:  la  Rosa  de  Alexandria,  III.  Cf. 
also  Pedro  Mexia:  Silva  de  varia  leccion,  op.  cit.,  libro 
III,  cap.  34;  "Que  mugeres  fueron  las  Sibillas." 

522.  Eduardo:  Lope  has  both  forms,  Dilardo  (three  syllables) 
and  Eduardo;  it  is  probable  that  the  present  verse  has 
hiatus  after  seiiora,  making  Eduardo  three  syllables. 

525.  In  this  sonnet  Lope  ridicules  his  affected  contemporaries 

who  favored  conceptismo  and  cultcranismo  in  poetry. 
I  have  discussed  these  poetic  aberrations  at  greater 
length  in  my  introduction,  and  tried  to  show  there,  as 
well  as  in  my  notes,  to  what  extent  these  phenomena 
were  influenced  by  neo-platonism.  The  peculiar  lan- 
guage of  the  poets  of  the  early  seventeenth  century  was 
not  wholly  new  at  the  time ;  similarities  in  phrase  may 
be  detected  in  prose  and  verse  running  far  back  into 
the  fifteenth  century.  The  novelty  of  the  style  lay 
chiefly  in  the  excess  of  it,  in  piling  up  its  artificial  fea- 
tures to  the  exclusion  of  natural  expression.  It  was 
the  abuse  rather  than  the  use  of  conceptos  and  culto 
elements,  that  created  their  vogue  and  made  the  literary 
world  alive  to  their  possibilities. 

526.  mi  amor  que  a  la  virtud  celeste  aspira:  compare  "El  amor 

que  a  la  virtud  se  tiene. ' ' — Cervantes :  Galatea  IV — a 
phrase  which  occurs  with  similar  ones  in  the  midst  of  a 
neo-platonic  discussion.  Cf.  edition  Schevill-Bonilla, 
II,  p.  45. 

552.  la:   refers  to  yntenzion:  the  printed  texts  have  sc. 

576.  vete  a  escuelas:  "los  estudios  generales  (that  is,  a  Uni- 
versity) donde  se  enseiian  las  artes  liberales,  disciplinas. 
sciencias,  y  diuersas  facultades  de  Teologia,  Canones, 
Leyes,  Medicina,  Filosofia,  Lenguas  .  .  .''  —  Cova- 
rrubias;  note  this  use  of  the  plural  v^ithout  the  article: 


27(i  NOTES 

"Eso  (]('  argiiir  cs  bueno 
para  esciu'las." 
— Lope:    la  Esdava  dc  su  gahhi,  1,  i. 
"Si  entro  en  escuelas,  gritan  los  gorrones : — • 
j  Ay,  giiarda  el  perro ! — Siluos  y  ceceos, 
y  sosurro  mejor  que  de  auejones." 
— Diego  Ximenez  de   Eneiso:    Juan   Latino,   II,  near 
beginning. 

579.  Plat())i  .  .  .  puso  cortinas:  that  is,  the  neo-platonists  re- 
joice in  tliis  obscurity. 

587.  La  claridad 

a  todos  cs  agradahle:  Although  Lope  himself  indulged  at 
times  in  conceptisnw  and  cultcranismo  he  always  ad- 
vocated clearness  of  style  in  his  criticisms.  He  makes 
a  distinction  between  culto,  affected,  and  culto,  cultured 
in  the  best  sense.  In  the  latter  sense  Garcilaso  was 
culto:  "Aquel  poeta  es  culto,  que  cultiva  de  suerte  su 
poema,  que  no  deja  cosa  aspera  ni  escura,  como  un 
labrador  un  campo ;  que  eso  es  cultura,  aunque  ellos 
diran  que  lo  toman  por  ornamento. " — la  Dorotca,  IV,  ii. 
See  also  his  ' '  Discurso  en  prosa  sobre  la  nueva  poesia, ' ' 
in  Ohras  sueltas  de  Lope  de  Vega  (Madrid,  1776),  IV, 
p.  459. 

593.  No  traygas  contigo  [a]  quien:  on  the  mechanical  omission 
of  a  before  or  after  a  vowel,  cf.  verse  259. 

610.  Nise  stumbles  and  falls:  This  stage  trick,  which  permits 
the  lover  to  assist  the  young  girl  to  rise,  or  to  touch 
her  hand  without  arousing  suspicion  or  offending  cur- 
rent etiquette,  is  one  of  several  common  devices,  both 
of  the  theatre  and  the  novel.  Cf .  Lope :  la  Discreta 
enamorada,  I,  iv:  (Fenisa  lets  her  handkerchief  fall, 
so  that  Lucindo  may  hand  it  to  her  and  address  her)  ; 
el  Acero  de  Madrid,  I,  ii :    (Belisa  falls  and  Lisardo 


LA  DAMA  BOBA  277 

helps  her  to  rise)  ;  Tirso  de  ]\Iolina  has  tlie  following 

scene : 

DoRa  Magdalena.   .  .  .   (ap.)  Un  favor, 

me  nianda  amor  que  le  de. 
{Tropieza,  y  da  la  mano  a  Mircno) 

;  Valgame  Dios !    Tropece  ;  .  .  . 
(op.)  que  sierapre  tropieza  amor. 
El  chapin  se  me  torcici. 
Mir'eno.   (ap.)  jCielos!    ^hay  ventura  igual? 

^  Hizose  acaso  algiin  mal 
Vnexceleneia  ? 
Dona  Magdalena.  Creo  que  no. 

Mire  no.   (ap.)  ;  Que  la  mano  la  tome  ! 

— ci  Vergonzoso  en  Palacio,  II,  xvi. 
Cf.  also  For  el  Sotano  y  el  Torno,  II,  i ;  and  Alarcon : 
" — Jacinto,  Lucrecia  e  Isabel,  eon  mantos ;  cae  Jacinta, 
y  llega  Don  Garcia  y  dale  la  mano  " — la  Verdad  sos- 
pecJwsa,  I,  iv. 

"No  se  si  con  cnidado,  tropezo  del  chapin,  acudile  los 
brazos  abiertos,  y  recibila  en  ellos,  alcanzandole  a  tocar 
un  poco  de  su  rostro  con  el  mio." 

— Guzman  de  Alfaraehe,  II,  iii,  iv. 

635.  Hermoso  soys  sin  duda,  pensamiento:  This  apostrophe  to 
a  "thought"  is  exceedingly  common  in  Lope,  and  is  a 
dramatic  device  with  the  form  and  character  of  a  mono- 
logue. The  latter  is  seldom  satisfactory  from  an  artistic 
point  of  view,  because  Spanish  comedy  (la  eomedia 
propiamente  dicha),  is  intrinsically  one  of  constant 
action  and  forward  motion ;  so  that  monologues,  however 
brief  they  may  be,  assume  an  artificial  character.  In 
tragedy  the  monologue  is  more  appropriate  on  account 
of  the  moments  of  pause  and  deliberation  which  occur 
in  every  tragic  plot.  Apostrophes  to  a  "thought"  may 
be  found  in  la  Viuela  valenciana:    "Buen  animo,  pen- 


278  NOTES 

sMiiiiiiilo,  (Ic  ti'iiu'ridad  vostido." — If,  i-Jos  Locos  dc 
Val(Hci(i:  "Vete  despacio,  peiisauiiento  mio." — I,  xiii ; 
cl  Boho  del  Colegio:  "^Donde  me  llevas,  pensamiento 
loco?" — III,  iii;  cl  Perro  del  hortclano:  "Nuevo  pen- 
samiento mio,  desvanecido  en  el  viento." — II,  iv ;  la 
Moza  dc  cdntaro:  "Neeio  pensamiento  mio,  (jue  en  tal 
loeura  habeis  dado." — I,  xii;  cl  Castigo  sin  vcnganza: 
"Dejame,  pensamiento;  no  mas,  no  mas,  memoria.'' — 
I,  i ;  and  many  other  plays.  Even  in  prose  fiction  Lope 
introdnces  this  poetic  stage  device:  Cf.  the  romance  in 
cl  Pcrcgrino  en  su  patria,  libro  3,  in  Obras  sneltas,  V, 
p.  208 : 

' '  Cobarde  pensamiento, 

pues  todas  tns  promessas, 

burlandose  del  alma 

el  viento  se  las  lleva. " 

Similar  apostrophes  to  "pensamiento"  may  also  be 
found  in  other  dramatists. 

668.  [las  docc]  que  es  numero  de  ijnteres:  Don  Luis  Zapata  has 
a  chapter  in  his  Misceldnea,  called  "Grandeza  del 
numero  doce."  It  is,  like  most  of  the  volume,  a  heap  of 
absurdities,  but  contains  items  of  popular  interest. 
Among  the  scores  of  examples  in  which  doce  is  used,  he 
cites :  ' '  Doce,  los  f amosos  doce  Pares  de  Francia  ;  doce 
meses  tiene  el  ario ;  .  .  .  doce  horas  da  en  Espaiia  el 
reloj,  y  no  da  mas  .  .  .  de  doce  anos  se  puede  casarima 
mujer,  de  doce  puede  testar.  Doce  hijos  hacen  por  sus 
dias  a  un  hombre  hidalgo  .  .  . ;  doce  son  los  Consejos 
principales  que  gobiernan  nuestra  machina  .  .  . ;  doce 
leguas  hay  de  Madrid  a  Toledo  .  .  . ;  una  docena  de 
acotes  es  el  castigo  ordinario  de  un  nuichacho  .  .  .y  doce 
gallinas  y  un  gallo  dicen  que  comen  tanto  como  un 
caballo."  Cf.  Memorial  hisiorico  cspanol  (Madrid, 
1859),  XI,  p.  76tf.    Laurencio  adds  (vs.  681-4)  : 


LA  DAMA  BOBA  279 

"Ell  las  doze  el  ofizial 

descaiisa,  y  bastale  ser 

ora  entonzes  de  comer 

tan  precissa  y  natural." 
This  doer  is  in  Zapata  also :  "A  las  doce  del  dia  se  come, 
los  dias  de  ayuno  en  especial"  (p.  78). 

681.  el  ofizial:  cf.  note  to  verse  430  above. 

693-700.  Nisc  cs  ora  ynfortunada,  .  .  .  plancta  ayrado,  sestil, 
quadrado,  Jupiter  henigno,  trino  are  astrological  terms 
found  especially  in  the  vocabulary  of  culteranismo. 
"Los  planetas  se  aman  el  vno  al  otro,  quando  se  miran 
de  aspecto  henigno,  que  es  trino,  de  distancia  de  ciento  y 
veynte  grados,  el  qual  es  aspecto  de  perfeto  amor ;  o  de 
aspecto  sestil,  de  la  mitad  de  aquella  distancia,  que  es 
de  sesenta  grados  del  vno  al  otro;  el  qual  es  aspecto  de 
lento  amor  y  de  media  amistad.  Empero  hazense  ene- 
migos  y  se  aborrecen  el  vno  al  otro  quando  se  miran 
de  aspecto  oposito,  .  .  .  que  es  de  ciento  oehenta  grados 
.  .  . ;  y  tambien,  quando  se  miran  de  aspecto  quadrado, 
de  la  mitad  de  aquella  distancia  etc." — Leon  Hebreo: 
" Didlogos  de  Amor,"  I,  " Dialog o  segundo,"  p.  347  of 
the  Nueva  hihlioteca  de  autores  espanoles  XXI :  Origenes 
de  la  Novela  IV  (Madrid,  1915).  Cf.  also  Christobal 
Suarez  Figueroa,  Plaza  Universal  (ed.  1733,  Madrid), 
p.  210  (dealing  with  astrological  matters)  :  "Si  la  Luna  ' 
tuuiere  aspecto  .  .  .  con  Jupiter,  las  cosas  correran 
henignas  y  propicias."  Also  p.  543,  par.  7.  Note  also 
the  following  passages: 

"Tu,  moro,  astrologo  falso, 

mira  ;  que  presto  mentiste ! 

Plies,  sin  trinos  ni  cuadrados, 

sextiles  ni  oposiciones, 

me  traen  el  bien  que  agiiardo." 

— Lope:    la  Nina  de  Plata,  II,  xxi. 


2S0  NOTES 

'*iQue  i)Uiii('ta  i-i^uroso 
miro  en  aspecto  contrario 
la  casa  de  mi  fortiina?'' 
— Velez  de  Guevara:   La  Ohligacion  a  las  mugcrcs,  III, 
f.    258    in    Scgunda   parte    de    comedias    escogidas 
(Madrid,  1652). 

719-28.  No  rrs  que  el  sol  del  dinero 

va  del  yngenio  adelante?  etc.:  Ever  since  the  days  of  the 
Arehpriest  of  Hita,  whose  M'itty  lines  beginning  "Mueho 
fas  el  dinero,  et  mueho  es  de  amar,"  are  read  with 
pleasure  today,  Spanish  writers  have  paid  tribute  to  don 
Dinero  in  original  ways.  Quevedo's  hiriUa: 
Poderoso  caballero 
es  don  Dinero 
is  well  known,  and  Cervantes  has  on  several  occasions, 
especially  in  Don  Quixote,  written  of  the  relative  merits 
of  poverty  and  riches ;  Aleman,  witli  his  love  of  moral- 
izing, speaks  of  them  at  length,  as  for  example,  in  la, 
parte,  libro  3°,  cap.  1,  of  his  Guzman  dc  Alfarache,  be- 
ginning: "Para  los  aduladores,  no  hay  rico  necio,  ni 
pobre  discrete. ' '  But  Lope  always  presents  an  old  sub- 
ject in  a  new  and  inimitable  manner ;  compare,  for 
example : 

"Bcltran.        lA  quien  pesa  que  le  den? 

Dime  tu  ;  en  el  mundo,  [,  a  quien  ? 
Florencio.     &  No  hay  nadie  1 
Beltran.  Escuchame. 

Florencio.  Di. 

Beltran.        El  medico  esta  mirando 

cuando  el  de  a  ocho  le  encajas ; 

el  letrado  cuando  bajas 

la  mano  al  parrafo,  dando ; 

el  juez  cuando  le  toca 

la  parte  del  denunciado; 


LA  VAMA  BOB  A  281 

el  procurador  no  ha  dado 
paso  hasta  que  el  plus  le  toca ; 
el  que  escribe,  solo  atiende 
cuando  sacas  el  dobl(3ii ; 
cualquiera  negoeiaeion 
de  solo  el  dinero  pende. 
El  que  viene  a  ser  tu  amigo, 
si  nunca  le  has  dado  nada, 
culpa  tu  amistad  honrada 
y  deja  de  andar  eontigo. 
El  que  se  pone  a  mirar, 
no  esta  mirando  aquel  rato 
si  es  flux,  sino  el  barato 
aguarda  que  le  has  de  dar. 
I  Quien  ha  hecho  algun  placer, 
que  no  espere  el  galardon  1 

— la  Noche  toledana,  I.  vi. 

746.  jAsi  fueni  el  alma!    Pedro  is  far  more  particular  than  his 
master,    and    his    preference    of    intelligence    to    mere 
prettiness  reminds  one  of  Alarcon  's  verses : 
"Si  es  boba  la  hermosa, 
es  de  teiiido  papel 
una  bien  formada  flor, 
que  de  lejos  vista  agrada, 
y  cerca  no  vale  nada 
porque  le  falta  el  olor." 

— Mudarse  par  mcjorarse,  I,  v. 

753.  sails:  The  word  in  the  MS.  looks  like  sales,  but  the  e  may 
be  an  undotted  i  as  elsewhere  now  and  then. 

769.  iAmorf  Desseo  .  .  .  de  vna  cossa  crmosa:  A  discussion 
of  love  along  the  same  lines  as  here  may  be  found  in 
Lope's  Fiientc  Ovejuna,  I,  iv;  see  also  la  Dorotea,  II,  iv. 
The  language  and  ideas  of  neo-platonism,  especially  as 
voiced   in  Leon  Hebreo,   Didlogos  de  Amor,   are   fre- 


2  NOTES 

<|iiciilly  r('])catc(l  hy  llic  poets  of  Lope's  day;  they  are 
retieeted  in  practically  all  types  of  poetic  creation.  "  Ya 
declaro  Platon  que  el  noinbre  del  amor  es  vniversal  a 
(pialquiera  desseo,  de  qiialqiiier  cosa  que  sea  y  de  qual- 
(piiera  que  dessee ;  pero  que  en  especial  se  dize  solaraente 
desseo  de  cosa  hermosa. ' '  ( Op.  cit..  p.  377 ) .  Again  :  "  El 
amor  humano,  de  quien  priucipalmente  liablamos,  es 
propriamente  desseo  de  cosa  hermosa,  como  dice  Platon ; 
y  comunmente  es  desseo  de  cosa  buena,  como  dize  Aris- 
toteles."  (p.  381).  The  interpretation  of  the  pagan 
deities,  Cupid,  Venus,  Apollo,  etc.,  of  heathen  myths, 
as  found  in  Leon  Hebreo  is  repeated  in  the  poets  of  the 
Siglo  de  Oro.  Cervantes  copies  Leon  Hebreo  extensively 
in  his  Galatea,  IV,  the  definition  of  love,  as  un  deseo  de 
hcllcza  recurring  several  times.  Cf.  the  edition  Schevill- 
Bonilla,  op.  cit.,  Introduccion,  p.  21 ;  Fitzmaurice-Kelly : 
HistoHa  de  la  literatura  espanola  (Madrid,  1916),  p. 
130;  and  especially  the  great  work  of  Menendez  y 
Pelayo:  Historia  de  las  ideas  esteticas  en  Espana,  II, 
vol.  1°  (Madrid,  1884),  p.  108tf. 

rOl.  cspiritiis  visiuos:  "Lo  que  tiene  facultud  de  ver," — Dice, 
de  Aiit.,  under  visivo,  with  a  citation  from  Fragoso: 
Cirugia  Universal,  I,  cap.  37,  "Por  estos  van  los 
espiritus  visivos  a  los  ojos,  y  entran  las  especies,  o  seme- 
janzas  de  las  cosas." 

Leon  Hebreo,  op.  cit.,  p.  361,  says:  "del  respla^ide- 
ciente  entendimiento  diuino  fue  produzida  la  luz  visiua 
en  el  primer  dia  de  la  creacion,  y  en  el  quarto  dia  fue 
aplicada  al  sol.  y  a  la  luna  y  a  las  estrellas." 

r94.  an-iedro  haya:  A  more  popular  and  antiquated  form  of 
arredro;  cf. :  "Comenzose  a  ofrecer  a  Sataiias,  dejo  caer 
las  alfor jas,  llegose  a  el  el  estudiante  y  dijo : — Arriedro 
vayas,  Satan,  cata  la  cruz," — Quevedo:  Yida  del 
Buscon,  I,  iv. 


LA  BAM  A  BOB  A  283 

812.  lAmorf  locura,  furor:  Of  the  classical  origin  of  this  con- 
ception, I  have  spoken  at  length  in  my  book  on  Ovid 
(Did  ike  Spanish  Renascence  (Berkeley,  1913).  Cf.  also 
the  Acneid,  IV,  101:  "ardet  amans  Dido,  traxitque  per 
ossa  furorem".  Very  apropos  of  this  passage,  Gaspar 
Gil  Polo  says:  "Aunque  todos  estos  nombres  [del 
Amor]  son  infames,  peores  son  los  que  le  dan  sus  mismos 
aficionados,  nombrandole  f uego,  furor  y  muerte ;  y  al 
amar,  llamando  arder,  destruirse,  cousumirse,  y  enlo- 
quecerse ;  y  a  si  mismos  nombrandose,  ciegos,  miseros, 
eautivos,  furiosos,  consumidos  e  inflamados." — la  Diana 
enamorada,  I. 

819.  El  mas  rudo  lahrador 

a  pocos  cursos  la  adquicrc:  cf.  Ovid  and  tlte  Spanish 
Renascence,  op.  cit.,  p.  38;  Juan  Ruiz  says:  "El  amor 
fas  sotil  al  ome  que  es  rrudo."  stanza  156. 

823.  vna  dulcc  enfcrmedad :  cf.  Ovid  and  the  Spanish  Rena- 
scence, op.  cit.,  p.  58ff. 

826.  sahanones:  "enfermedad  que  suele  dar  comunmente  en 
los  pies  y  manos  y  si  da  en  el  talon  le  llamamos  friera." 
— Covarrubias. 

"Si  mi  sefior  te  ha  engaiiado, 
no  vuelva  a  Madrid  jamas. 
i  Plega  a  Dios  que  un  ignorante 
me  lea,  ilustre  seiiora, 
perversos  versos  un  hora  ! 

Que  se  aficione  a  capones 
mi  dama  por  voces  vanas, 
y  si  tuviere  tercianas, 
me  curen  por  sabaiiones." 
— Lope:   el  Premio  del  hi()i  liahlar,  IT,  ii. 


284  NOTES 

830.  €s  luz  del  cntendimicnto  amor:  one  of  the  conceptos  often 
found  in  the  religious  verse  of  the  seventeenth  century, 
but  referring  to  el  amor  diuino.  It  is  found  in  similar 
forms  in  Leon  Hebreo. 

839.  dcso  na<;istcs.  lYof  The  ignorance  of  Finea  may  be  com- 
pared with  that  of  Agnes  in  Moliere's:  L'ecole  des 
fcmmcs;  tliere  are  similar  ideas  in  both  plays. 

852.  pcpitoria:  a  stew:  "Seiior  licenciado,  lo  primero  que  tengo 
de  quitar  deste  su  libro  ha  de  ser  el  titulo  que  le  pone, 
llamandole  Pepitoria. — Preguntole  que  por  que,  y  res- 
pondiole : — porque  la  pepitoria  lleva  pies  y  cabeza ; 
pero  este  su  libro  ni  lleva  pies  ni  cabeza." — Gaspar 
Lucas  Hidalgo:  Didlogos,  op.  cif.,  lib.  3",  cap.  4;  "La 
seiiora  su  vecina  la  desmenuzaba  toda,  y  hacia  pepitoria 
de  todos  sus  miembros  y  coyunturas. " — la  Gitanilla,  p. 
25,  edition  of  Rodriguez  Marin  in  Cldaicos  castellanos, 
XXVII ;  cf .  also  Velez  de  Guevara :  el  Diablo  cojuelo, 
the  edition  of  Sr.  Bonilla,  op.  cit.,  pp.  15  and  213. 

861.  saco  de  una  carta  vn  naypecito:  Octavio  hands  Finea  a 
picture  of  Liseo,  drawn  on  the  back  of  a  playing  card. 
According  to  a  passage  in  Lope's  Perihdnez,  y  el  Comen- 
dador  de  Ocana  (cf.  Bonilla 's  edition,  Madrid.  1916), 
a  painter  draws  his  first  sketch  of  a  portrait  on  a  play- 
ing card  (naipe),  throwing  it  afterwards  on  a  larger 
canvas :  ^^ 

"Pint or.  A  servirte  vengo. 

Comendador.  i,Traes  el  naipe  y  col  ores? 
Pintor.  Colores  y  naipe  traigo. 

Comendador.  Pues,  con  notable  secreto, 

de  aquellas  tres  labradoras, 

me  retrata  la  de  enraedio, 

luego  que  en  cualquier  lugar 

tomen  con  espacio  asiento. 


LA  DAM  A  BOB  A 


285 


Pint  or.  Que  sere  dificiiltoso 

temo ;  pero  yo  me  atrevo 
a  que  se  parezca  rauclio. 
Comendador.  Pues  advierte  lo  que  quiero. 
Si  se  parece  en  el  uaipe, 
deste  retrato  pequeno 
quiero  que  hagas  uno  grande 
con  mas  espaeio  en  un  lienzo. 
Pintor.  [,  Quieresle  entero  ? 

Comendador.  No  tanto; 

basta  que  de  medio  cuerpo, 
mas  con  las  mismas  patenas, 
sartas,  camisa  y  sayuelo." 

— I,  xxii. 
In  a  very  amusing  scene  {el  Auscnte  en  el  lugar,  III,  iv) 
Carlos  pretends  to  tear  up  the  letters  and  pictures  of 
Elisa  to  make  her  believe  that  all  is  over  between  them. 
Unfortunately  he  has  nothing  to  tear  up  in  his  pockets, 
so  he  turns  to  his  servant: 
'Carlos.  ^,  Tienes  un  papel  ahi ? 

Fingire  que  los  rompi.     {ap.  a  Estehan.) 
Estehan.        Buena  industria. 

Carlos.  Amor  me  advierte. 

Estehan.        Si  a  darte  otra  cosa  vengo 

tan  buena,  no  has  de  enojarte. 
Carlos.  No  hare. 

Estehan.  Pues  escucha  aparte. 

Diez  0  doce  naipes  tengo. 
Carlos.  I  Naipes  ? 

Estehan.  Son  para  encajar, 

si  necesidad  se  ofrece. 
Carlos.  Muestra. 

Estehan.  Lastima  parece. 

Carlos.  Estotros  puedes  guardar. — 

{a  Elisa)      Elisa,  hoy  te  dejo  rota, 
hoy  rompo  .  .  . 


283 


NOTES 


Esf(h(ni.         (up.  a  sii  amo.)  y  piuliera  scr. 

si  fuera  mala  iniijer ; 

y  rompes  alguna  sota." 
Carlos  then  tears  up  several  playing  eards  under  Elisa's 
window,  and  departs.     The  latter  promptly  despatches 
Marquina,  and  her  servant  Paula,  to  examine  the  frag- 
ments, while  she  remains  at  the  window. 


Paula. 

^Rasgolos  todos  aqui 

Carlos  cuando  se  partio? 

Elisa. 

Si. 

Marquina. 

Naipes  solo  hallo  yo. 

Paula. 

I  Como  ? 

Marquina. 

Naipes. 

Paula. 

^  Naipes  ? 

Marquina. 

Paula. 

Mira  no  sea  el  retrato, 

Si. 


que  esta  en  naipe. 
Marquina.  Lo  que  ves. 

La  sota  de  bastos  es. 

Jugo,  perdio  y  dio  barato. 
Paula.  ]\Iira  que  el  reves  sera. 

Marquina.     Por  aca  no  hay  otra  eosa." 
Cf .  also  la  Dorotea,  I,  v ;  IV  i ;  V,  v. 

The  three  picture  cards  of  the  Spanish  deck  are :  a 
crowned  figure  (rey),  a  figure  on  horseback  (cahallo), 
equivalent  to  our  queen,  and  the  knave,  a  standing 
figure  (sota).  Apparently  Liseo's  picture  recalled  the 
latter,  being  the  image  of  a  young  man,  but  only  as  far 
as  the  waist,  and,  therefore,  differening  from  the  usual 
sota  in  having  no  legs.  Cf.  the  phrase :  "que  es  sota,  y 
muestra  los  pies,"  in  Tirso  de  Molina:  La  Villa na  de 
la  Sagra,  I,  i;  "buscar  los  pies  a  una  sota"  in  Alarcon : 
Las  Paredcs  oyen,  II,  i.  This  may  be  another  reason  for 
Finea's  surprise  on  seeing  her  prospective  husband  on 
a  playing  card,  but  wdthout  legs,  for  she  exclaims :  ' '  que 
no  tiene  mas  de  cara,  cuera  y  ropilla"  (vs.  870).     On 


LA  DAMA  BOBA  287 

the  national  popularity  of  all  kinds  of  card  games  see 
the  interesting  note  of  Pellicer  to  his  edition  of  Don 
Quixote,  II,  cap.  49 ;  also  the  notes  of  Clemeucin  to  the 
same  chapter. 

869.  cl  negro  del  marido:  "Es  color  infausta  y  triste,  y  como 
tal  vsamos  desta  palabra,  diziendo :  negra  ventura,  etc. ' ' 
— Covarrubias;  ef . :  "la  negra  orden  de  caualleria," — 
Don  Quixote,  1,  iii. 

901.  retfatado:  for  retratada;  Lope  may  have  referred  uncon- 
sciously to  Liseo. 

907.  llegad  sillas  y  almoliadas:  that  is,  "bring  chairs  for  the 
men,  and  pillows  for  the  women."  The  room  in  which 
women  received  gentlemen  had  an  estrado  (cf.  verse 
2449  below)  or  a  kind  of  low  platform  covered  with  a 
carpet.  On  this  were  placed  special  almohadas  de 
estrado,  and  while  the  men  took  the  chairs,  the  women 
seated  themselves,  presumably  after  the  Moorish  fashion, 
on  the  pillows.  The  evidence  for  these  facts  is  extensive, 
but  I  shall  select  only  a  few  references.  Compare  the 
following  passages : 

" Sala  en  casa  de  Aurelio. 
Aurelio,  Octavio,  Elisa,  muij  gall  a  rd  a  de  novia ;  Mar- 
quina,  cscudero,  etc. 

Aurelio.         Llegad  las  sillas. — Tu,  querida  Elisa, 
ocupa  esta  almohada." 
— Lope:  el  Ausenfe  en  el  lugar.  III.  xiv. 
Elisa,  it  will  be  remembered,  is  the  only  woman  present. 
Cf.  also  II,  X,  of  the  same  play;  furthermore  Los  Me- 
lindres  de  Belisa,  I,  ii ;  and  la  Dorotea,  II,  v. 
' '  Estaba  el  rico  estrado, 
de  dos  pedazos  de  una  vieja  estera 
hecha  la  barandilla, 
de  ricas  almohadas  adornado 


288  NOTES 

en  tariiiias  dv  corelio,  y  por  defuera 
t4  gi-avc  ailorno  de  una  y  otra  silla  ;" 

— Lope :  la  Gatomaquia,  silva  5. 
"Se  entr(5  y  admitio  una  silla,  con  que  le  convidaron. 
Sontose  la  dama  en  un  estrado  que  habia  de  razonables 
cogines  en  una  sala,  cuyo  adorno  era  de  unos  guadama- 
ciles,  al  quitar  euando  los  pidiese  su  dueiio." — Linan  y 
Verdugo:  Guia  y  avisos  de  Forasieros,  "iiovela  y  es- 
carmiento  quinto." 

"Camila  le  respondio,  (jue  niejor  reposaria  en  el  estrado, 
que  en  la  silla,  y  assi  le  rogo  se  entrasse  a  dormir  en  el. ' ' 
— Don  Quixote,  I,  cap.  xxxiii,  f.  192r. 
Cf.  also  the  "Carta  de  dote  otorgada  por  Miguel  de 
Cervantes  a  Dona  Catalina  de  Salazar  Vozmediano,  su 
muger,"  the  list  containing,  among  the  usual  household 
goods,  una  almoada  de  estrado  de  verduras;  in  Pellicer, 
Documentos  .  .  .,  p.  207  of  his  Introduction  to  Don 
Quixote  (Madrid,  1797). 

Among  the  hienes  dotales  y  propio  caudal  of  Isabel 
de  Cervantes  are  mentioned :  '  ''quatro  almohadas  de  es- 
trado, de  terciopelo  negro,"  and  "otra  alombra  de  es- 
trado." Perez  Pastor:  Documentos  cervantinos 
(Madrid,  1897),  p.  149. 

918.  xerigonza:  in  addition  to  the  signification  given,  verse  443, 
also  means  hoax,  trick,  or  deceitful  game,  a  mystifying 
or  ridiculous  occurrence.    Compare  : 
"  Sotanitos  de  Madrid, 
jerigonzas  encubrid 
eon  las  trampas  de  una  calle." 
— Tirso  de  Molina:  Por  el  Sotano  y  el  Torno,  III,  xi. 
The  Die.  de  Aut.  cites  Espinel :    Marcos  de  Ohregon, 
"hacia   el   gitano   mil  gerigonzas   sobre   el  macho,   de 
manera  que  tenia  ya  muchos  golosos  que  le  querian 
comprar,"  I,  cap.   16;  Cejador:    Tesoro:  Silhaiites,  1, 
no.  30,  p.  102  thinks  the  word  of  Basque  origin. 


LA  DAMA  BOBA  289 

023.  hahlaua  <n:   cf.  "hablando  en  el  duque  de  Alba  etc." 
— Lope :   Al  pasar  del  arroyo,  IT,  i. 
"habla  en  los  reyes  a  tiento." 

— Gnardar  y  guardarse,  II,  i. 
"Ansi  estiiuimos  hasta  la  noche,  hablando  en  cosas  que 
me  pregnntaua." 

— Lazarillo  de  Tormes,  III. 
Cf.  also  Hanssen,  who  says,  of  this  phrase,  Gramdtica 
Jiistorica  de  la  lengua  castcllana:    "pertenece  al  len- 
giiaje  antiguo"  (p.  299). 

950.  ta)ito  el  jo  se  le  acomoda:  jo,  the  call  of  muleteers  to  their 
beasts  to  urge  them  on,  and  so  more  appropriate  for 
the  silly  Finea  than  joyas,  jewels.  The  Die.  de  Ant. 
cites  Quevedo:  "Asimismo  declararaos  que  no  de  a 
ninguna  muger  joya  ninguna,  so  pena  de  quedarse  con 
el  jo  como  bestia."  In  Premdtica  del  tiempo,  Ohras, 
op.  eit.,  I,  p.  440 ;  cf .  also  Jacara,  no.  7  ;  III,  p.  105 : 
' '  Llegamos  a  la  ciudad 
con  sus  arres  y  mis  joes." 

"No  haya  miedo  que  me  aturda. 

Con  un  palo  y  con  un  arre, 

y  un  jo,  que  te  estricgo,  suelo 

dar  con  un  hombre  en  el  suelo. 

— Tirso  de  Molina:   la  Villana  de  Vallecas,  I,  xiii. 

This  same  phrase  occurs  in  Don  Quixote,  II,  cap.  10, 

f.  35r. 

955.  Haraos  mal  el  agua  sola. 

Traygan  vna  caxa:  cf.  above,  verse  50.  In  la  Dorotea,  II, 
iii,  a  similar  idea  is  expressed:  "No  bebais  que  os  hara 
mal  sin  comer  algo.  Trae  una  caja,  Celia,  o  mira  si  ha 
quedado  algun  bizcocho  de  los  que  me  envio  mi  con- 
f esor. ' ' 

959.  vn  menudo:    "se  dize  el  vientre  del  carnero  con  manos  y 
cabeza. ' '— Covarrubias.    Other  animals,  and  birds,  how- 


290  NOTES 

v\(']\  were  .-ilso  iisrd.  Tlic  t'liti-ails  and  such  parts  as 
wci'c  iiicludcd  in  tlu'  pi'eparation  were  first  carefully 
waslicd,  and  aeeordiiigf  to  some  descriptions,  even 
scrubbed  with  soap  {cnxahonar) .  In  Francisco  Mar- 
tinez Montifio:  Aric  de  Cozina,  [Madrid,  1611]?  may 
be  found  the  following  recipe  for  vna  rmpanada  de 
mcnudos  dc  pauos.  f.  21 8v  and  219r:  "Tomaras  vn 
nienudo  tic  pauo,  que  son  los  alones,  y  el  pescueco,  y 
los  ])ies,  y  hi  nioHeja  ;  luego  desollaras  los  pescuecos, 
y  liai-as  vn  relleno  eon  higadillos  de  los  mismos  pauos, 
0  de  aues,  friendo  vn  poco  de  tozino,  y  cebolla,  y  los 
higadillos,  y  echales  vn  poco  de  yeruabuena,  y  luego 
echa  quatro  hueuos  crudos,  y  rebueluelo  sobre  la  lunibre, 
hasta  que  este  bien  seco ;  luego  sacalo  al  tablero,  y  picalo 
muy  bien,  y  echale  vn  poquito  de  pan  rallado,  y  echale 
dos  hueuos  crudos,  y  sacona  [lo]  con  todas  especias  y 
agrio  de  liraon,  y  sal ;  y  con  este  relleno  henchiras  la 
niorcilla  del  pescueco ;  luego  tomaras  los  alones,  y 
pelarlos  has  en  agua,  y  cortarles  has  las  puntas,  y 
cuezanse  assi  enteros,  y  eortaras  el  pescueco  por  medio, 
y  cuezase  todo  junto  con  la  molleja  y  los  pies  y  la 
morcilla  con  vn  poco  de  agua  y  sal  y  tozino ;  y  despues 
de  cozido  sacarlo  has  que  se  enfrie,  y  haras  vna  masa 
dulce  como  de  empanada  Inglesa,  y  empanalo  con  ella 
(y),  echando  vnas  lonjas  de  tozino  debaxo,  y  saeonarlo 
[has]  de  sal,  y  especias,  y  echa  otras  lonjas  de  tozino 
encima,  y  cierra  tu  empanada,  y  cuezase;  y  aduierte, 
que  para  cada  empanada  son  menester  dos  menudos 
con  sus  dos  morcillas  de  los  pescuecos;  y  si  no  huuiere 
pauos,  se  puede  hazer  de  gansos,  lunque  no  son  tan 
buenos,  y  si  fuere  en  dia  de  carne,  podras  hazer  el 
relleno  con  carne  en  lugar  de  los  higadillos."  Martinez's 
book  makes  amusing  reading,  but  I  do  not  recommend  it 
to  people  with  weak  stomachs. 

In  the  Bihlioteca  dc  la  mujcr,  dirigida  por  la  Con- 
desa    de   Pardo   Bazan :      lo    ('oci)ia    espanola   antigna 


LA  DAM  A  BOB  A  291 

(Madrid,  s.  a.),  P-  239,  the  reader  will  find  another 
recipe  for  un  Menudo  a  lo  gitano:  "Lavense  en  agiia 
caliente  los  callos  y  tripas ;  vuelvanse  a  lavar  y  a 
restregar  con  vinagre  y  limon.  Cortense  en  pedazos 
chicos  y  echense  en  la  olla,  con  agua  y  sal,  una  mano 
de  ternera  deshuesada,  jamon  cortado  en  pedazos,  nn 
chorizo  picante,  algunos  garbanzos  ya  remojados,  el 
ziimo  de  medio  limon,  dos  cabezas  de  ajos  enteras  y 
piment(3n  Colorado ;  desliase  en  el  mortero  un  migajon 
remojado  en  agua  saturada  de  azafran,  cominos  y 
cilantro,  con  un  poco  de  caldo  del  mondongo;  auadase 
al  guiso,  dejese  espesar,  y  sirvase  muy  caliente."  The 
preparation  of  this  dish  is  naturally  to  be  found  in  no 
modern  dictionary;  as  far  as  I  know,  the  menudo  is 
mentioned  especially  in  the  literature  of  the  seventeenth 
century.  Cf .  also  Lope 's  la  Gatomaquia,  silva  6,  vs.  332f¥. 
(Stage  direction  after  960).  Entren  con  agua,  ioalla,  salha 
ij  vna  coxa:  of  salva  Covarrubias  says:  "la  pieca  de 
plata,  o  oro,  sobre  que  se  sirue  la  copa  del  seilor,  por 
hazerse  en  ella  la  salua,  ora  sea  el  maestresala,  ora  por 
el  gentilhombre  de  copa. 

984.  Adios.     ;Ola!     On  various  occasions  Lope  puts  this  ex- 
clamation ;<Aa!  into  the  mouth  of  a  hoho,  or  of  one 
playing  the  fool,  and  not  as  a  greeting.    It  is  manifestly 
intended  as  a  sign  of  Finea's  simplicity.     Compare: 
"Garcevan.  ;  Hola,  aho!  mirad  que  rabio  ; 
por  eso  mandad  sacar 
la  merienda." 

— el  Boho  del  Colegio,  II,  xvi. 
"Asimismo  mandamos  que  ninguno  llame  a  nadie  di- 
ciendo :  Ola,  hombre  honrado — ,porque  nadie,  mientras 
este  vivo  y  sano.  es  honrado  con  ola,  porque  las  honras 
se  suelen  hacer  a  un  muerto,  pero  no  a  un  oleado,  que 
aun  vive." 

— Quevedo:    Preniatica  del  Tiempo,  Obnis.  op.  cif., 
1,  p.  441. 


292  NOTES 

1021.  ('Ii(  roll  fidx)  a  Marco  Tulio:  The  inferiority  of  the  younger 
Cieero,  when  compared  with  his  illustrious  father,  be- 
came a  tradition  started  perhaps  by  a  few  chance  utter- 
ances. Thus  Seneca,  the  rhetorician,  says  of  liim 
(Suasoriaf,  7,  13)  that  he  was  "homo  qui  nihil  ex  pa- 
terno  ingenio  habuit  praeter  urbanitateni."  ]\Iy  friend, 
Dr.  T.  Peterssen,  called  my  attention  to  The  Corres- 
pondence of  Cicero  by  Tyrrell  and  Purser  (London, 
1897),  which  has  a  detailed  introductory  article  on 
Marcus  Cieero  the  Younger,  V,  j).  Iviff.  A  popular 
essay  on  the  son  may  be  found  in  F.  F.  Abbott,  Society 
and  Politics  in  Ancient  Rome  (New  York,  1912),  p. 
191ff. 

1031.  rasganse  cartas:    so  the  manuscript  seems  to  me  to  read, 

although  the  present  subjunctive,  which  Lope  would 
write  rasgen  (cf.  forms  like  lleg[u]e,  etc.),  may  have 
been  intended,  a  and  e  are  occasionally  hard  to  dis- 
tinguish. 

1032.  ningun  iesoro  conpra  la  lihertad:   a  sentiment  frequently 

expressed  in  Lope's  day.  Cf.  the  Latin  phrase:  "non 
bene  pro  toto  libertas  venditur  auro";  and  Schevill: 
Ovid  and  the  Renascence  in  Spain,  op.  cit.,  p.  208.  The 
line  also  recalls  Lope's  beautiful  cancion  beginning: 

"  i  0  libertad  preciosa, 
no  comparada  al  oro, 
ni  al  bien  mayor  de  la  espaciosa  tierra  !" 
Compare  also: 

"  i  0  libertad,  gran  tesoro, 
porque  no  hay  buena  prision, 
aunque  fuese  en  grillos  de  oro!" 

— la  Nina  de  Plata,  II,  ii. 

Acto  segundo:   a  room  in  Octavio's  house,  perhaps  the  same  as 
in  act  first ;  we  must  imagine  it  near  the  garden. 


LA  DAM  A  BOB  A  293 

1082.  [ariior]    cs  ci  dotor:    this  recalls  the  titles  of  Tirso's  el 

Amor  medico,  and  Moliere's  V Amour  medecin.  The  idea 
goes  back  to  Ovid. 

1083.  catrcda:  on  tnuisposiciun,  a  common  popular  plienomenon, 

cf .  Hanssen,  op.  cit.,  p.  67 ;  compare : 
"Castillo.     Nos  han  puesto,  sefior,  de  arriba  abaxo 

como  nueuos. 
Duque.  ^Porque? 

Latino.  Porque  me  he  opuesto  .  .  . 

Castillo,     a  vna  catreda,  y  mandalo  vn  badajo, 

Villanueua,  que  paga  a  estos  gorrones 
a  seis  marauedis  cada  gargajo, 
chico  con  grande." 
— Diego  Ximenez  de  Enciso:   Juan  Latino,  II,  f.  44r. 

1087.  Platon  .  .  .  Aristotcles:  Leon  Hebreo  in  his  Didlogos, 
op.  cit.,  discusses  the  opinions  of  Plato  and  Aristotle 
on  love  at  length,  p.  378ff. 

1090.  The  three  verses  following  1090  are  eliminated  in  the  manu- 
script, and,  according  to  the  ink,  by  Lope  himself. 

10991f.  Practically  all  the  ideas  of  this  speech, — that  love  taught 
men  the  arts,  how  to  live  in  communities,  to  make  laws, 
create  republics,  in  short,  that  this  motive  force  would 
be  Finea's  best  teacher, — these  ideas  are  taken  from 
Ovid's  Ars  amatoria  and  the  Remedia  amoris,  modified 
by  neo-platonic  philosophy  which  made  love  a  very 
comprehensive  influence  hard  to  define.  It  covers  a 
wide  range  of  motive  forces,  being  a  love  or  desire  of 
every  kind,  a  desire  of  possession,  a  desire  of  beauty,  a 
desire  of  action  and  the  like. 

1063-1321.  The  dialogue  of  act  II,  i  and  ii,  especially  between 
the  young  men  and  Nise,  is  a  good  example  of  concep- 
tismo  and  culteranismo  in  a  mild  form.     In  as  much  as 


294  NOTFiS 

Lope  intended  these  scenes  to  be  a  good-natured  satire 
on  the  affectations  of  society  and  its  false  notions  of 
l)oetry  and  culture,  the  conversation  is  natui-ally  not 
clear,  and  the  vocabulaiy  intentionally  absurd,  or  cidto. 

1164.  fort  una  el  tiempo  corrio:  fortuna  in  the  sense  of  "storm" 
is  connnon  in  the  writers  of  the  Renascence.  "Saliendo 
con  gran  prosperidad,  a  i)Ocas  leguas  corrieron  fortuna." 
— cl  Donado  hahlador,  op.  cit.,  I,  cap.  8. 

1171.  las  colores:  masculine  or  feminine;  Cervantes  uses  both 
about  equally. 

1175.  The  three  speeches,  that  of  Duardo,  vs.  1155,  of  Feniso, 
vs.  1175,  and  of  Laurencio,  vs.  1195,  of  equal  length, 
represent  a  kind  of  balance  in  dialogue,  rather  com- 
mon in  Lope's  dramatic  art.  The  most  artificial  ex- 
ample may  be  found  in  la  Noche  toledana,  III,  xi-xv, 
in  which  the  various  lovers  appear  on  the  scene,  one 
after  the  other,  each  reciting  a  sonnet  "to  Night," 
the  last  two  lovers  splitting  a  sonnet  between  them,  by 
reciting  a  verse  each,  with  the  exception  of  the  last 
verse,  of  which  each  has  a  word.  Even  Calderon  could 
have  gone  no  further  in  artificial  dialogue.  In  these 
speeches,  the  three  young  men  are  plainly  cultos, 
Laurencio  being  a  trifle  more  metaphysical  and  dark 
than  the  others.  Cf.  the  Introduction  on  Lope's  art 
also,  p.  46.  '^ 

1274.  donde  aij  tantos  vendahales 
dc  ijnt cresses  en  los  honbres, 
no  fuc  milagro  mudarte: 

"^Mudose  aquel  vendahal? 
I  Vuelves  a  buscar  tu  igual 
o  te  burlas  y  entretienes  ? ' ' 

— Lope:   el  Perro  del  Jiortelano,  II,  xvii. 


LA  DAMA  BOBA  295 

1297.  Astrologo  mc  parezcs; 

que  sienpre  de  agenos  males, 

sin  reparar  en  los  suyos, 

largos  pronosticos  Jiazen:  The  astrological  imposter  is  fre- 
quently mentioned  in  fiction  and  drama.  Compare: 
"Vivia  en  su  vecindad  un  astrologo,  grande  liombre  de 
saear  por  figura  los  sucesos  de  las  casas  agenas,  cuando 
quiza  en  la  propia,  mientras  el  consultaba  efemerides, 
su  muger  formaba  otras,  que,  criandose  a  su  costa,  le 
llamaban  padre." — Tirso  de  Molina:  Los  trcs  maridos 
hurlados:   1'"  burla. 

' '  Cierto  esta  que  este  mono  no  es  Astrologo,  ni  su 
amo  ni  el  alcan,  ni  saben  alear  estas  tiguras  que  llaman 
judiciarias,  que  tanto  aora  se  vsan  en  Espaiia :  que  no 
ay  mugercilla,  ni  page,  ni  capatero  de  viejo  que  no 
presuma  de  alcar  vna  figura,  como  si  fuera  vna  sota  de 
naypes  del  suelo,  echando  a  perder  con  sus  mentiras  n 
ignorancias  la  verdad  marauillosa  de  la  ciencia." — Don 
Quixote,  II,  cap.  XXV,  f.  98v. 

In  Persilcs  y  Sigismunda,  Cervantes  speaks  of  la 
Astvologia  jndiciaria  several  times;  ef.  I,  cap.  13.  Doiia 
Maria  de  Zayas  y  Sotomayor  (el  Castigo  de  la  miseria) 
also  depicts  the  fraudulent  practices  of  an  astrologer. 
There  can  be  no  doubt  that  current  popular  supersti- 
tions favored  these  practices,  although  they  were  con- 
demned by  the  Inquisition.  Cf.  H.  C.  Lea :  A  History 
of  the  Inquisition  of  Spain,  IV,  191f¥.  Lope  mentions 
them  frequently:  el  Boho  del  Colegio,  III,  xv;  el  Au- 
sente  en  el  lugar,  II,  xi;  la  Dorotea,  V,  viii,  and  in  other 
plays. 

1307.  The  two  verses  following  1307  are  eliminated  in  the  maini- 

script. 

1308.  [los   romances]    no  pueden   ser  consonantes:    The   oldest 

ballads,  and  the  best,  were  composed  in  assonant  verse, 
not  rime  (consonantes). 


296  NOTES 

}'■]]].     .     .     .    (I    li>S   (Dili (/OS 

pnirba  la  cama  y  la  carzel:  Correas,  Vocabulario,  p.  321, 
has :  ' '  Carceles  y  caminos,  hacen  amigos, ' '  and  Aleman, 
Guzman  de  Alfarache,  2a,  parte,  libr.  3°,  cap.  7,  also 
calls  la  carcel  "priieba  de  amigos."  Compare  Lope's 
l)lay  :   la  Pnicha  de  los  amigos,  first  printed  in  1873. 

1317.  par  ngalos  tuyos  tube 

mudanzas  etc.:  Among  the  gifts  which  lovers  gave  were 
jewels,  finery  of  all  kinds,  costly  cloths  {panos),  and 
even  house  furnishings.  Cf.  la  Viuda  valrnciana,  III, 
ii;  la  Noche  toledana,  I,  xiii  and  many  other  scenes  in 
Lope's  plays.  Lope's  women,  however,  seem  more  prone 
to  receive  than  those  of  other  playwrights:  as  a  matter 
of  fact,  women  of  refinement  and  culture  were  satis- 
fied with  the  mere  offer  of  presents.  Cf.  De  cosario  a 
cosario,  I,  vi,  and  Alarcon's:  la  Verdad  sospechosa, 
I,  V,  where  Jacinta  says  to  her  admirer : 

"Yerran  vuestros  pensamientos, 
caballero,  en  presumir 
que  puedo  yo  recebir 
mas  que  los  of recimientos. " 
Cf.  also  Miss  Bourland's  edition  of  las  Paredes  oijcn 
(New  York,  1914),  p.  173. 

1347.  cl  Prado:  meaning  here  the  same  as  in  verse  1349,  los 
Recolctos:  The  Prado  vie  jo  consisted  of  three  parts: 
Prado  de  Atoeha,  Prado  de  San  Jcronimo.  and  Prado 
de  Recoletos.  The  last  named  section  was  a  popular 
spot  on  account  of  some  of  its  parks  and  gardens  to 
which  the  people  went  for  recreation.  "Como  con- 
traste  de  tan  ostentoso  aparato  profano,  en  medio  de 
todas  aquellas  mansiones  de  animacion  y  de  placer,  otro 
austero  convento  elevaba  alii  tambien  al  cielo  sus 
religiosas  torres;  era  el  de  padres  Augustinos  Recoletos, 
fundacion  de  dona  Eufrasia  de  Guzman,  princesa  de 


LA  DAMA  BOBA  297 

Asculi,  marquesa  de  Terranova,  en  1595."  Mesoiiero 
Komanos:    (/  Antiguo  Madrid,  op.  cit.,  p.  226. 

1364.  I  have  indicated  the  ruhrica  wherever  it  is  found  in  the 

manuscript,  as  it  may  be  possible  that  such  parts  of 
the  play  as  are  included  between  two  ruhrieas  (when 
these  come  at  the  end  of  a  scene  or  an  act),  were  written 
in  one  session,  witliout  interruption. 

1365.  Vn  maestro  dc  danzar:   Espinel  would  not  have  approved 

of  the  way  in  which  Octavio  was  educating  his 
daughters,  since  they  saw  all  of  their  visitors  freely 
and  even  had  a  dancing  teacher.  He  says :  ' '  Quanto 
peor  hacen  los  padres  que  dan  a  sus  hijas  maestros  de 
danzar,  o  taner,  cantar,  o  baylar,  si  han  de  faltar  un 
punto  de  su  presencia !  Y  aun  es  menos  daiio  que  no 
lo  sepan;  que  si  han  de  ser  casadas,  bastales  dar  gusto 
a  sus  maridos,  criar  sus  hijos  y  gobernar  su  casa.  Y 
si  han  de  ser  monjas,  aprendanlo  en  el  monasterio ;  que 
la  razon  de  estar  algnnas  disgustadas  quiza  es  por 
haber  ya  tenido  fuera  comunicaciones  de  devociones, 
que  por  honestas  que  scan,  son  de  hombres  y  mugeres 
sujetos  al  comun  orden  de  naturaleza." — Marcos  de 
Ohregon,  parte  la,  descanso  2°. 
Cf.  also  note  to  verse  216ff. 

1379.  Co)i  que  yo  saiga  de  duda 

que  no  es  alma  la  helleza:  Leon  Hebreo,  in  accordance  with 
his  philosophy,  states  that  real  beauty  lies  in  the  soul, 
or  spirit.  To  this,  no  doubt,  Lope  refers.  "Tambien 
te  mostre  que  las  mayores  hermosuras  consisten  en  las 
partes  del  aniraa,  que  son  mas  eleuadas  que  el  cuerpo, 
etc."    Dieilogos  de  Amor,  op.  cit.,  p.  422. 

1382.  trae  mauana  vn  tanhoril. 

Esse  es  instrumento  vil:  Of  this  instrument  Covarrubias 
says:  "atambores  pequenos  para  fiestas  y  regozijos." 
Cf .  also  Lope 's  song : 


298  NOTES 

";  Oh  que  bien  quo  baila  Gil 
eon  los  niozos  de  Barajas, 
la  eliaeoua  a  las  sonajas 
y  el  villano  al  tainboril ''' 

— ^1/  pasar  (hi  urroiju.  I,  xii. 

1385.  Que  soy  muij  afizionoda 

al  cascahcl,  os  conficsso. 

.  .  .  que  no  es  much  a  rustiqueza 

cl  traJiellos  en  los  pies. — 

Harlo  pror  pienso  que  cs 

tralttUos  <n  la  caheza:  Compare:  "Los  daneantes  en  las 
fiestas  y  regozijos  se  ponen  sartales  de  cascabeles  en  los 
jarretes  de  las  piernas,  y  los  mueueu  al  son  del  instru- 
raento.  .  .  .  Las  azemilas  suelen  lleuar  sartales  de 
cascabeles,  assi  para  que  sean  sentidas,  como  para 
animarlas.  .  .  .  Al  que  tiene  poco  juyzio,  y  es  liuiano 
y  habladorcillo,  dezimos  ser  vn  cascabel,  por  ser  vacio  y 
hueco  en  el  hablar. " — Covarrubias. 

1399.  (^apatcro:   the  manuscript  capatero. 

1404.  Three  verses  following  1404  are  eliminated. 

1419.  Pucsto  que:   equivalent  to  aunque. 

1449.  asilla:  "Tomar  asa,  o  asilla  de  alguna  cosa,  vale  tanto 
como  ocasion,  y  achaque." — Covarrubias.  under  asa. 

1455.  At  this  point  of  the  dialogue  a  few  verses  have  been  erased 
and  are  very  difficult  to  decipher.  They  are  presumably 
verses  which  Lope  eliminated  and  then  rewrote  as  they 
are  in  the  text. 

1468.  aprender:  ant.  for  prender;  Cuervo  Diccionario  (I,  p. 
562)  cites:  "Luego  se  aprendio  mucho  ahina,  e  comenzo 
a  arder  la  rua." — Conquista  de  Ultramar,  2:77. 


LA  DAM  A  BOB  A  299 

1472.  cahczadas:  The  reader  will  remember  that  the  pun  lies  in 
tlie  double  meaning  of  cahezala:  a  "nod"  of  the  head 
which  accompanies  suenos,  and  a  "halter"  or  "head- 
strap"  which  accompanies  rocines. 

1477.  coriw  el  santo  do  Paxares:  "El  milagro  del  santo  de 
Pajares,  que  ardia  el  y  no  las  pajas." — Correas,  op.  cit., 
p.  105.  Quevedo,  in  his  Premdticas  y  aranceles  gene- 
rales,  Ohms,  op.  eit.,  I,  p.  430,  says:  "Quitanse  por 
nuestra  prematica  los  modos  de  decir  siguientes, "  and 
then  he  includes  santa  de  pajares.  I  take  this  to  be  a 
misprint  for  the  more  common  santo  de  Pajares,  to 
whom  Quevedo  refers  again  in  his  Visita  de  los  Chistes, 
I,  p.  347:  "Yo  me  queria  ir,  y  oigo  que  decia  el  santo 
de  Pajares :  Ah,  companero,  decildes  a  los  del  siglo 
que  muchos  picarones  que  alia  teneis  por  santos,  tienen 
aca  guardados  los  pajares ;  y  lo  demas  que  tenemos  que 
decir  se  dira  otro  dia."  According  to  some  lists  of 
idiomatic  phrases  (cf.  Becker  and  Mora,  Spanish 
Idioms  (Boston,  1886),  p.  308),  the  meaning  of  the 
one  quoted  is  hypocrite. 

1480.  aladares:  "los  cabellos  que  nos  caen  delante  de  las  ore- 
jas." — Covarrubias.  This  manner  of  wearing  the  hair, 
in  the  case  of  men  no  less  than  women,  was  especially  in 
vogue  in  the  seventeenth  century,  as  may  be  seen  on  the 
portraits  by  Velazquez. 

"venga  el  perfil 
de  uno  de  aquestos  mozuelos 
que  rizan  los  aladares 
con  molde  a  fuego." 

— Lope:  Quien  ania  )io  Jiaga  fieros,  I,  iii. 

1486.  lahrar  eon  hidro  vn  porfido:  porfido:  "vna  especie  de 
marmol  roxo  obseuro,  propiamente  purpureo." — Co- 
varrubias.    Comi)are : 


300  NOTES 

"Pero  es  labrar  en  un  jaspe 
con  un  vitlrio  una  figura." 
— Lope:   los  Etnbnstes  de  Cclauro,  I,  xvi. 

The  form  vidro  is  very  conunon  in  Lope's  time;  cf.  note, 
verse  56. 


1508.  dc  la  academia  de  mi  lurmana  Nisc:  here  used  merely  to 
indicate  the  literary  gatherings  of  the  cultos  and  con- 
ceptistas  of  whom  Nise  was  the  central  figure.  "Usur- 
pan  este  nombre  otras  qualesquier  Escuelas  de  Artes 
liberales,  o  ciencias,  que  tienen  algun  esplendor,  en  cuyo 
sentido  son  quasi  innumerables  las  que  pudieran  refe- 
rirse  en  Espafia.  Pero  la  formalidad  de  Academia  la 
tiene  solo  la  que  es  eregida  por  el  Principe,  o  en  virtud 
de  su  priuilegio. ' ' — Christobal  Suarez  Figueroa  :  Plaza 
Universal,  op.  cit.  (edition  1733),  p.  283.  On  these  liter- 
ary academies  cf.  below,  note  verse  2126. 

1513.  cl  Undo:  "Dezir  el  varon  lindo  absolutamente,  es  llamarle 
afeminado. ' ' — Covarrubias. 

"Tambien  enflaqueee  oir 
malos  versos,  cantar  mal, 
y  al  que  era  ayer  vuestro  igual 
hoy  mandar  y  hoy  presumir. 
Enflaqueee  una  visita, 
si  no  OS  da  mucho  contento ;  '^ 

un  noble  lleno  de  viento, 
que  a  nadie  el  sombrero  quita  ; 
un  lindo,  todo  alfeiiique, 
hecho  mujer  con  bigotes, 
y  unos  ciertos  marquesotes 
que  OS  hablan  por  alambique. ' ' 

— Lope :   cl  Boho  del  Colegio,  I,  iii. 


LA  DAMA  BOBA  301 

''Gerarda.     Luego  ^, preciaste  de  Undo? 
Lucindo.   ^.  De  lindo?    Donaire  tienes. 
Preciome  de  honibre." 

— la  Discreta  enamorada,  I,  ii. 
Cf.  also  the  passage  in  la  Viuda  valcnciana,  I,  iv,  be- 
ginning with  the  lines, 

' '  j  No  sino  venga  un  niancel)o 
destos  de  ahora  de  alcorza  etc." 
There  is  also  a  new  edition  of  Moreto's  el  Lindo  don 
Diego    (Madrid,   1916),  with   a  good  introduction  by 
Narciso  Alonso  Cortes. 

1581  ff.  This  scene  may  be  supposed  to  take  place  behind  the 
Recoletos  in  some  secluded  spot. 

1600.  a  verse  of  twelve  syllables. 

1608.  la  Ventura  de  la  fea: 

"Reina,  pues  que  tan  dichosa 
te  hara  el  cielo,  dulce  esposa, 
que  te  diga  quien  te  vea: 
— La  Ventura  de  la  fea 
pasose  a  Casilda  hermosa." 
— Lope:    Perihdnez  y  el  Comendador  de  Ocana,  I,  i. 
Cf.   also   Cervantes:    el   Vizcaino  fingido,  Entremeses 
(Bonilla  ed.,  Madrid,  1916),  pp.  90,  91  and  note  159.  Ac- 
cording to  la  Barrera  and  others,  Lope  also  wrote  a 
play  entitled  la  Ventura  de  la  fea,  but  nothing  definite 
seems  to  be  known  about  it.    On  a  comedia  with  the  title 
la  Ventura  de  la  fea,  cf.  an  excellent  article  by  Professor 
Buchanan  in  Modern  Language  Notes,  XX,  1905,  p.  39. 

1618.  Entrael  eon  esta  rum/la:  "Runfla:  la  nudtitud  de  un 
mismo  genero,  o  espeeie  de  cosas  quo  estan  una  eii  pos 
de  otra." — Die.  de  aut.  As  a  playing  term  it  appears  to 
mean  '"a  hand,  or  a  miscellaneous  number  of  cards'" : 


302  NOTES 

"...  i  Desprecio  extrano! 
Pues  auiKjiie  im  rey  inc  tripula 
y  nio  desearta  enojado, 
yo  se  que  i)nr;i  sn  rniifla 
me  quisiera  aljuniii  vasallo. " 

— Lope:   la  Nina  dc  Plata,  II,  xxii. 
'^  Rodrigo.     Cneiitanme  mil  jxTfeeciones. 
Lisco.         i  Como  le  pneden  faltar, 
si  entra  al  jnego  de  casar 
con  tal  rumfla  de  doblones?" 

— Lope:  Santiago  el  Verdr,  II,  i. 
In  Juan  Hidalgo's  Vocahulario  de  Germania  "rumfla" 
is  given  the  meaning  of  "muehedumbre." 
.)/  dalde  pique:  "Dar  pique:  En  el  juego  de  los  Cientos  es 
eontar  sesenta  en  lugar  de  treinta :  que  sucede  quando 
el  contrario  no  ha  contado  nada." — Die.  de  aut.,  under 
dar.  Cf.  also  pique,  f.  281,  col.  2.  A  term  from  the 
game  of  piquet,  and  applied  here  means:  "play  the 
winning  cards,  beat  her  at  the  game." 

1619.  que  no  hara  niucho  en  que  de  vos  se  pique:  "picarse," 
another  card  term.  "Encenderse,  resentirse  y  perder 
la  paciencia  el  que  pierde  a  algun  juego." — Die.  dc  Aut. 
Compare : 

"El  que  versos  quiere  hacer, 
y  buena  dicha  en  ganar, 
no  piense  que  ha  de  poder,  ». 

por  picarse  y  porfiar, 
ni  ganar  ni  componer." 
— Lope:  las  Flores  de  Don  Juan,  II,  vi. 
"No  me  afrentan  tus  razones, 
pues  has  perdido  en  el  juego ; 
que  siempre  un  picado  tiene 
licencia  para  hacer  fieros. " 

— Cervantes:   la  Guarda  cuidadosa. 


LA  DAM  A  BOB  A  303 

"^A  solas  estfis  hablando? 
Mai  te  ha  tratado  Leonor, 
porque  el  picado,  seiior 
siempre  queda  barajando." 
— Alarcon :   Mudarse  por  mejorarse,  I,  v. 
"Estaba  jugando  el  cocinero  y  en  acabando  el  dinero, 
como  quedo  picado,  pidiole  prestado  a  Zabala,  el  relo- 
jero,  veinte  reales,  y  respondiole  que  no  los  tenia" — 
Gaspar  Lucas  Hidalgo:   Didlogos,  op.  cit.,  II,  i.     Com- 
pare also  the  terms  picon,  and  dcspicarse  de: 
''Carlos.       i  Que  lindo  picon  le  he  dado! 
Que  piensa  que  estoy  ausente. 
Elisa.         Este  piensa  llanamente 

que  su  auseneia  me  ha  picado, 
J  veole  desde  aqui. 

— Lope:   el  Ausente  en  el  lugar,  III,  iv. 
"...  Querria  saber, 
para  cierto  pensamiento, 
si  iguala  el  entendimiento 
al  exterior  pareeer ; 
que  si  me  ha  de  despic-ar 
de  don  Juan  alguna  cosa, 
Costanza,  estoy  sospechosa, 
que  ha  de  ser  oirle  hablar." 
— Lope:  las  Florrs  dc  Don  Juan.  Ill,  i. 

1620.  cartas  tripuladas:  are  "cartas,  o  naipes  desechados;"  ac- 
cording to  the  quotation  in  the  note  on  rumfa,  verse 
1618.  tripular  is  the  same  as  drscartar.  The  term  is  not 
uncounnon  in  the  dramatists.  "El  novio  que  tripule" 
Lope  writes  in  las  Flores  de  Don  Juan,  III,  xix.  My 
colleague  Dr.  Morley  has  told  me  of  two  scenes  in  Tirso 
in  which  tripular  is  used:  Quien  calla,  otorga,  I,  vii; 
la  Celosa  de  si  misma.  II,  ii.  Here  the  meaning  is  evi- 
dently the  same,  that  is,  desechar,  dcscartar. 


304  NOTES 

1645.  (irdia.  adondc  tanto  cl  amistad  sr  precia:     Friendships 
are   famous  in   Greek  legend ;   we  need  only  mention 
Orestes  and  Pylades  (verse  1647),  Damon  and  Pythias 
(Phintias),  Achilles  and  Patroelus,  imitated  by  Virgil 
in  Aeneas  and  Achates.     And  there  are  many  friend- 
ships in  medieval  literature  copied  after  classic  models. 
"En  Grecia,  en  aquella  edad, 
teniase  la  aniistad 
por  excelente  blason ; 
pero  en  la  nuestra  lo  son 
la  mentira  y  falsedad." 
— Lope:  las  Florcs  dc  Don  Juan,  III,  xxi. 

1660.  Tamos  [a]  aconpanaros  y  seruiros:  on  the  mechanical 
omission  of  a,  cf.  verse  259. 

1668.  With  this  scene  we  return  to  a  room  in  Octavio's  house. 

1677.  la  anacardina:  "La  confecciou  que  se  hace  de  el  Anacardo 
para  facilitar  y  habilitar  la  memoria." — Die.  de  aid. 

1809.  Pues  pio  lo  ves  que  son  sus  hijos?     Compare: 
"Belarda.    ^Son  hijos  de  amor  los  eelos? 
Jacinto.     Sus  hijos  dicen  que  son." 

— Lope:   el  verdadero  Amante,  I. 
Cf.  also  la  Corona  merecida,  II,  vi. 

1813.  finiendo:  a  popular  form;  cf.  Timoneda :  el  Buen  Aviso 
y  Portacuentos,  "Revue  Hispanique"  (Schevill  edi- 
tion), XXIY,  cuento  Iviii,  p.  42  and  cuento  Ixii,  45. 
Verse  1813  has  twelve  syllables ;  it  may  be  corrected  by 
writing :  que  bien  se. 

1815.  celosia:  for  celos.  not  in  the  dictionaries,  and  presumably 
intended  as  a  hohada  of  Finea.  For  a  pun  on  the  word, 
cf .  Lope : 

"Lisena.    (ap.)   [Aydemi! 
Beltran.  (ap.)  Lisena  es: 

delante  ponerme  quiero. 


LA  DAMA  BOBA  305 

Ponese  Bcltran  delante,  fingicnclo  que  no  la  conocc. 

Ines,  iqiie  en  fin  soy  barbero? 

fe  Que  en  fin  soy  barbero,  Ines  ? 
Lisena.  Dejame  pasar,  desAaa. 

Beltran.  Un  abrazo  me  has  de  dar; 

Lisena.  Dejame,    Beltran,    mirar 

eelos  por  tii  eelosia. 

Dejame,  pues  me  conoees. 
Beltran.  ^Celosiayo?    ^Y  que  tal? 

De  ebano  de  Portugal. 

— la  Noche  tolcdana,  II,  vi. 

1816.  desenauiorarse:   the  manuscript  has  desanamorarse. 

1870.  segun  por  las  ayres  andas:  "Ir  por  los  ayres,  es  andar 
levantado  de  pensamieuto,  o  hazer  diligeneia  para 
alguna  cosa  con  gran  presteza,  como  los  que  por  arte  de 
nigromancia,  dizen  ir  de  vn  lugar  a  otro  en  poco  espacio 
de  tiempo." — Covarrubias,  under  ayre. 
"Ortuno.  .  .  .  si  se  descuida, 

entraras  eomo  primero. 
Comendador.  ;  Bueno,  a  fe  de  caballero! 

Pero   I  el  villanejo  cuida  ? 
Ortuno.  Cuida,  y  anda  por  los  aires." 

— ^Lope :  Fucnte  Ovejuna,  II,  v. 
"Yo  no  soy  bruxo  para  gustar  de  andar  por  los  ayres" 
says  Sancho  Panza — Don  Quixote,  II,  cap.  41,  f.  153r. 
Cf.  also  the  note  in  Persiles  y  Sigismunda,  op.  cit.,  I, 
p.  331. 

1917.  Juan  Latino:  Practically  all  that  tradition  handed  down 
about  this  illustrious  negro  was  gathered  in  the  ex- 
tremely interesting  play  Juan  Latino,  by  Diego  Ximenez 
de  Enciso,  and  printed  in  the  Segunda  parte  de  comedias 
escogidas  de  las  mejorcs  de  Espana  (Madrid,  1652),  a 
volume  I  have  before  me.  In  the  opening  scene  Dr. 
Carlobal,  a  clergyman,  chides  his  sister  dona  Ana  for 


306  NOTES 

her  iiiiiiiy  Hirlations.  I'oi'  tlic  lil)ci-1y  with  wliicli  slic 
tfcnis  her  iminerons  suitors.  Slie  I'cplics  in  a  si)irited 
way  that  the  doctor  has  forgotten  that  he  is  her  brother, 
not  her  husband,  and  that  on  St.  John's  Eve  she  pro- 
poses to  enjoy  tlie  masks  and  gaieties.  Her  brother 
threatens  to  marry  licr  off  immediately,  wliereupon  she 


*'^Yo  casarme  con  hombre  que  no  sea 
duque,  marques  o  conde  ?    i  Yo  easada  ? 
feDoila  Ana  Carlobal,  a  quien  desea 
seruir  el  mundo,  y  feste jar  Granada  ? ' ' 

While  doiia  Ana  is  discussing  her  suitors  with  her  serv- 
ant, shouts  are  heard,  with  mingled  music  and  song,  and 
a  crowd  of  revellers  passes  the  house.  They  are  chiefly 
students,  and  among  them  is  young  Juan  (Latino)  at- 
tached as  slave  to  the  person  of  the  youthful  D.  Gonzalo, 
son  of  the  duque  de  Sesa.  In  the  confusion  Juan  picks 
up  Ana's  ribbon  which  had  fallen  from  the  window,  the 
indication  being,  according  to  certain  superstitions  con- 
nected with  St.  John's  Eve,  that  Ana  will  marry  the 
negro  lad,  Juan. 

In  the  next  scene  we  deal  with  the  uninteresting 
subplot,  the  discontent  of  the  Moriscos  and  their  reform, 
all  of  which  however,  permits  the  introduction  later  of 
D.  Juan  de  Austria. 

We  then  have  a  typical  students'  scene  in  which 
Juan  goes  through  the  usual  torments  of  these  episodes 
(gargajeanle  todos)  and  excites  particular  envy  be- 
cause he  wears  doiia  Ana's  ribbon. 

Then  follows  the  session  of  an  Academy  at  the 
Duke's  house,  in  which  Juan  wins  the  applause  of  all 
by  a  very  learned  disquisition  on  the  invention  of  print- 
ing, and  the  origin  of  writing.  Juan  is  thereafter  en- 
trusted to  Dr.  Carlobal,  that  his  education  may  be  per- 
fected, and  his  promise  fulfilled. 


LA  DAMA  BOBA  307 

In  the  second  act,  Juan  aspires  to  a  professorship 
at  the  university,  and  desires  to  compete  for  it  with  a 
certain  Villanueva,  already  maestro  and  catedratico. 
He  pleads  eloquently  with  his  master  the  Duke  for  his 
freedom,  in  order  that  his  oposicion  may  be  taken 
seriously,  but  the  Duke  puts  him  off  with  vague 
promises.  In  the  meantime  doiia  Ana,  always  eager  to 
learn,  demands  a  teacher  of  her  brother  who  selects 
Juan  Latino.  In  this  way  Juan  sees  a  great  deal  of 
her,  teaching  her  not  only  gramdtica  as  Lope  puts  it, 
but  amo,  amas.  He  also  recites  verse  to  her  which  is 
rather  free  from  the  usual  culteranismo,  and  sings  to 
the  "biguela." 

We  now  have  the  interesting  scene  of  the  oposicion 
in  which  Villanueva  attempts  to  defend  his  professor- 
ship, but  in  vain,  as  Juan's  dignity,  self-possession  and 
learning  carry  the  day. 

In  the  third  act,  Juan  has  made  great  strides  in  his 
suit  for  doiia  Ana's  hand,  but  to  the  displeasure  of 
Dr.  Carlobal  who  did  not  engage  him  "to  make  love 
to  his  sister."  D.  Juan  de  Austria  now  appears  on  the 
scene,  honors  Juan  Latino  in  various  ways  and  promises 
to  intercede  for  him  with  the  Duke,  so  that  Juan  may 
become  a  freedman.  D.  Juan  de  Austria  eulogizes  him 
in  the  following  sonnet : 

' '  Hijo  de  esclauo  soy ;  naci  en  Baena, 
donde  las  letras  aprendi  primero ; 
creci  siguiendo  el  centro  verdadero, 
premio  que  a  la  virtud  el  cielo  ordena. 
No  me  ha  estoruado  mi  amorosa  pena 
que  sea  de  Granada  Racionero, 
Orfeo,  Marte,  Ciceron,  Homero, 
en  voz,  en  armas,  en  Latin,  en  vena. 
Catredatico  fui,  Griego  excelente, 

.y,  en  fin,  varon  insigne,  pues  que  llego 
a  ser  deste  lugar  Colector  digno. 


308  NOTES 

V  ('OHIO  If  llamo  ]>oi-  eniiiiente 

la  antigua  Roma  a  sn  Adriano,  el  Griego, 
la  noble  Espana  inc  IUiiik')  el  Latino." 
^^  If  these  details  are  true,  they  give  us  new  facts  in 
Juan's  career.  We  also  learn  that  doiia  Ana  had  a 
brother  who  was  Ucoiciado  and  alcalde  of  Granada, 
while  Dr.  Carlobal,  the  clergyman,  is  called  "fundador 
de  la  celebrada  Vniversidad  de  Osuna."  Whether  D. 
Juan  Tellez  Giron,  fourth  Count  of  Urena,  and  founder 
of  the  University  of  Osuna  (1548),  called  Carlobal  to 
some  important  position  I  am  unable  to  ascertain. 

In  the  midst  of  great  pomp  and  ceremony  Juan  is 
finally  made  Doctor,  the  last  act  devoting  considerable 
space  to  the  usual  vcjamcn.  The  latter  is  pronounced 
by  the  chief  wit  of  the  play,  Castillo,  who  relates  various 
anecdotes  concerning  Juan,  characterizing  him  as  fol- 
lows : 

".  .  .  un  dia  naturaleza 

tuuo  ciertas  combidadas, 

Diosas  de  aquellos  contornos, 

que  de  camino  passauan. 

Era  Sabado,  y,  muy  triste 

de  no  poder  regalarlas, 

se  puso  a  hazer  vn  menudo, 

y  aun  dizen  que  era  de  baca. 

Tomo  vna  larga  moreilla 

la  naturaleza  sabia,  ^ 

y  comenco  a  echar  en  ella 

letras,  lenguas,  esciencias  varias, 

nominatiuos,  gerundios, 

en  fin,  toda  la  gramatica, 

la  teologia,  y  las  artes ; 

pero  echo  pimienta  harta  ; 

que  al  cozer  esta  moreilla, 

salio  como  vna  gualdrapa. 

Minerua,  diosa  de  guerra, 


LA  DAMA  BOBA  309 

viendo  que  es  rey  de  las  annas 
el  claro  Duque  de  Sesa, 
embiosela  a  su  casa, 
donde  ha  los  anos  que  veis 
que  esta  al  humero  eolgada, 
sin  que  la  de  libertad ; 
que  aun  ay  morcillas  esclauas. 
Verdad  es  que  el  seilor  Duque, 
sabiendo  de  Juan  las  gracias, 
le  dio  estudio,  que  fue  hazer 
de  vn  cueruo  vna  aguila  braua." 
Juan    Latino,    now    maestro,    catcdratico,    doctor,    and 
liberto,  attains  his  final  and  chief  honor  in  the  hand  of 
doila  Ana. 

""These  statements  do  not  agree  v.dth  most  of  those 
made  by  Bermudez  de  Pedraza  in  his  Antigiledad  y 
excelencias  de  Granada,  and  quoted  by  Clemencin  (edi- 
tion of  Don  Quixote,  note  10  to  preliminary  verse).  In 
fact  no  two  writers  agree  on  the  details  of  Juan  Latino's 
life,  which  seem  to  have  been  handed  down  chiefly  by 
word  of  mouth.  One  of  the  most  interesting  facts  in 
the  life  of  Juan  Latino,  and  one  which  relates  him  more 
intimately  to  Lope,  is  the  connection  between  their  re- 
spective patrons.  D.  Gonzalo  Fernandez  de  Cordoba, 
third  duke  of  Sessa,  and  grandson  of  cl  Gran  Capitdn 
was  the  owner  of  the  negro  scholar;  while  D.  Luis 
Fernandez  de  Cordoba  Car  dona  y  Aragon,  sixth  duke 
of  Sessa,  grandson  of  doiia  Beatriz  de  Cordoba  y  Figue- 
roa,  nieta  del  Gran  Capita n.  was  Lope's  patron  and 
intimate  friend. 

I  cannot  disentangle  the  confusion  wliich  seems  to 
exist  regarding  doiia  Ana's  brother  and  father,  although 
the  assertion  of  Pedraza,  that  the  latter  was  liccnciado,  ij 
Gohernador  dclestado  del  duque  de  Sesa  lends  some  au- 
thority to  Lope's  statement  that  he  was  a  vvintieuatro. 
Enciso,  we  saw,  gives  dona  Ana  two  brothers,  one  of 


310  NOTES 

wlioiii  is  Lkcnciado  and  alcalde.  Pellicer,  in  his  edition 
of  Don  Quixote,  Madrid,  1787,  p.  233,  states  briefly  that 
Juan  Latino  died  in  Granada  in  1573,  whih^  Ticknor  and 
others  guardedly  say  "after  1573."  Nicliolas  Antonio 
may  be  responsible  for  tliis  uncertainty.  He  says: 
Jaeet  in  Sanctae  Annae  paroeciali  ecclesia  Granatensi, 
uti  fert  prae  se  lapidis  titulus,  quern  ipse  in  ea  urbe 
agens  excripsit :  Del  Maestro  Juan  Latino,  Catedratico 
de  Granada,  y  doiia  Ana  de  Carleval  su  mnger  y  here- 
deros.  MDLXXIII ;  (followed  by  six  hexameter  verses) . 
Cf.  also  Gallardo's  Ensayo  dc  una  Bihliotcca  espa)lola, 
III,  no.  2627;  and  Rodriguez  Marin:  Luis  BaraJiona  de 
Soto  (Madrid,  1903),  p.  35,  and  an  article  in  el  Im- 
parcial  (de  Madrid),  1916,  November  19th,  which  adds 
practically  nothing  to  previous  information.  Line  1927  : 
al  for  el ? 

1977.  (juieres  darle  vn  filo  en  mi:  Compare  the  plirases:  "no 
dejaran  los  Zoilos,  los  Cinicos,  los  Aretinos  y  los  Bernias 
de  darse  un  filo  en  su  vituperio,  sin  guardar  respeto  a 
nadie." — Cervantes:  Novelas,  dedicatoria;  and  "gente 
de  la  hampa,  y  de  mi  talle  y  marca,  con  quien  pudiera 
darme  tres  o  cuatro  filos  cuando  quisiera." — Guzman 
dc  Alfaraclie,  2a  parte,  libro  2°,  cap.  2. 

Act  III :    The  scene  remains  the  same. 

2036.  [amor]  o  accidcnte,  o  eleccion:  cf.  below,  verse  2177,  where 
the  same  idea  fits  better  into  the  mouth  of  a  culta  like 
Nise  than  a  regenerate  hoha  like  Finea.  Both  woras 
are  without  the  usual  cedilla  in  the  manuscript.  In 
connection  with  this  whole  speech,  ef.  above,  on  the 
influence  of  Ovid 's  ars  amatoria.  In  its  last  analysis, 
what  Finea  says  is  a  fusion  of  Ovid  and  Leon  Hebreo. 
conceived  in  moderate  culto  style. 

2090.  catredatico:   cf.  verse  1083. 

2099.  Duardo:  as  elsewhere,  3  syllables. 


LA  DAMA  BOBA  311 

2107.  endiosada:    " endiosarse,  vale  eiitonarse,  ei-guirse  y  enso- 
berbecerse." — Die.  de  aiit. 

' '  i  Oh  secretaria  cruel 
de  la  ninfa  melindrosa, 
la  que  se  alcorza  y  endiosa, 
la  que  viendo  en  un  papel 
un  San  Jorge  dibujado, 
de  la  sierpe  se  espanto  ! ' ' 
— Lope  :  los  Melindres  de  Belisa,  II,  xxii. 

2110.  Pcfmrca:  (1304-1374)   Nise  could  have  read  Petrarch  in 

Spanish.  I  have  in  mind  two  editions:  Triumphos: 
Traslacion  de  los  seis  tnunfos  de  Francisco  Petrarca  de 
toscano  en  castellano,  hecha  por  Antonio  de  Ohregon 
(Sevilla,  1526),  in  folio,  goth. ;  Sonetos  y  canciones  del 
poeta  Francisco  Petrarca  que  traduzia  Henrique  Garces, 
de  lengua  thoscana  en  castellana  (Madrid,  1591). 
Garcilaso:  Garcilasso  de  la  Vega  (1503-1536),  one  of  the 
greatest  of  Spanish  lyric  poets.  Cf.  Fitzmaurice-Kelly, 
Historia  de  la  Literatura  castellana  (ed.  2,  Madrid, 
1916),  p.  137  and  404;  Cejador:  Historia  de  la  Lengua 
y  Literatura  castellana,  II,  p.  70ff. 

2111.  Virgilio:    On  Virgil,  and  the  influence  of  Virgil's  Aeneid 

in  Spanish  literature  of  the  Renascence,  cf .  Schevill : 
Studies  in  Cervantes,  III,  in  T ransactions  of  the  Con- 
necticut Academy  of  Arts  and  Sciences,  vol.  XIII,  p. 
475ff. 
Taso:  There  are  two  Italian  poets  of  this  name :  Bernardo 
Tasso  (1493-1569)  and  his  more  famous  son  Torquato 
Tasso  (1544-1595).  The  former's  epic  poem  Amadigi 
may  interest  readers  of  Amaelis  de  Gaula;  the  latter "s 
master  piece,  Gerusalcmnie  lih(  rata,  wns  iiiutated  l)y 
Loi)e  in  his  Jerusalem  conquistada,  and  the  Aminta  was 
translated  into  Spanish  by  Jauregui  (1607). 

2117.  On  Heliodorus  cf.  verse  27i). 


312  NOTES 

iMl!).  h'iinas  dc  Lope  do  Vega:  Of  Lope's  Rimofi  printed  before 
1613,  Nise  could  have  possessed:  la  Hermosura  de 
Angdica,  con  otras  diversas  rimas  (]\Iadi-id,  1602)  ;  the 
same  volnnie  contains  Srgioida  Parte  dc  las  Rimas,  f. 
242,  and  Tn-rn-a  Variv  d<  las  Rimas,  f.  342.  This 
volume  was  several  times  reprinted  between  1602  and 
1613.  Cf.  also  Gallardo:  Ensayo,  IV,  nos.  4214,  4215; 
Lope's  Rimas  Sacras  were  not  printed  until  1614,  and 
his  Rimas  humanas  y  divinas  not  until  1634.  On  Lope 
de  Vega,  cf.  Fitzmaurice-Kelly,  ejp.  cit.,  p.  436. 

2120.  Galatea  dc  Cervantes:   Cf.  the  edition  Schevill-Bonilla,  op. 

cit.  In  el  Premio  del  hien  hahlar,  I,  x.  Lope  mentions 
Cervantes,  and  again  in  la  Viuda  valenciana,  I,  xv,  to- 
gether with  the  Galatea;  in  the  first  case  especially,  for 
the  sake  of  the  rime.  Cf .  also  Fitzmaurice-Kelly,  op.  cit., 
p.  383. 

2121.  el    Gamoes    de   Lishoa:     Luiz    de    Cam5es    (1524?- 1580) 

famous  Portuguese  poet,  whose  great  epic  Os  Lusiadas 
was  first  printed  in  Lisbon,  1572.  Cf.  Theophilo  Braga: 
Camoes,  epoca  e  vida   (Oporto,  1907). 

2122.  Los  Pastores  de  Belen:  Pastores  de  Belen,  Prosas  y  versos 

divinos  de  Lope  de  Vega  Carpio  (Madrid,  1612).  On 
this  book  cf .  Renertij  Life  of  Lope  de  Vega,  p.  200ff. 

2123.  Comedias   de   don    Guillen    de    Castro:    (1569-1631)  ;  jio 

volume  of  Castro's  plays  in  print  a^  early  as  1613  (the 
date  of  la  Dama  hoha)  is  known  as  far  as  I  can  ascer- 
tain, the  first  editions  of  his  plays  being  Primera  parte 
(Valencia,  1621),  Segunda  parta  (Valencia,  1625).  But 
this  jiassage  of  Lope  must  not  be  taken  seriously,  as 
does,  for  example,  the  editor  of  Las  Moeedcuh  s  del  Cid 
in  Cldsicos  castellanos  (Madrid,  1913),  p.  22,  note.  In 
the  first  place  the  word  Guillen  was  convenient  as  a  rime 
word ;  in  the  second  place  it  is  not  unlikely  that  Lope 


LA  DAM  A  BOB  A  313 

(i.e.,  Nise)  possessed  some  manuscript  copies  of  Castro's 
plays,  which  would  amply  explain  his  statement.  On 
Castro,  cf .  Fitzmaurice-Kelly,  op.  cit.,  pp.  253  and  383 ; 
Cejador,  op.  cit.,  IV,  p.  ]84iT. 

2124.  Liras  de  Ochoa:   no  liras  by  any  Ochoa  are  known  to  me, 

and  it  is  futile  to  theorize  as  to  his  identity.  La  Barrera 
has  a  note  on  one  Ochoa  praised  by  Cervantes  in  his 
Viaje  del  Parnaso,  cap.  2,  vs.  8tf.,  where  he  is  called  "el 
Licenciado  Juan  de  Ochoa"  (cf.  Ohras  completas  de 
Cervantes  (Madrid,  Rivadeneyra,  1864),  XII,  p.  363. 
La  Barrera  inclines  to  the  belief  that  the  poet  men- 
tioned by  Cervantes  is  the  playwright  Juan  de  Ochoa, 
of  whom  the  Biblioteca  Nacional  possesses  a  comedia:  el 
Vencedor  vencido;  cf.  his  Catalog o  del  teatro  antiguo 
espafiol,  p.  285;  the  play  is  no.  3428  in  Paz  y  Melia's 
Catalogue. 

2125.  Luis  Velez:  Luis  Velez  de  Guevara  (1578-1644)  a  famous 

dramatic  poet  and  friend  of  Lope  de  Vega.  (Cf.  the 
the  admirable  introduction  prefixed  by  Professor  Bonilla 
to  his  critical  edition  of  el  Diablo  Cojuelo,  op.  cit.). 
Professor  and  Seilora  de  Menendez  Pidal  have  prijited 
an  edition  of  Velez  de  Guevara's  play  la  Serrana  de  la 
Vera  (Madrid,  1916).  Both  Lope  and  Cervantes  speak 
of  him  with  high  praise.  Cf.  La  Barrera 's  Catdlogo. 
p.  463,  and  his  note,  XII,  p.  389,  in  the  already  men- 
tioned Ohras  completas  of  Cervantes;  Fitzmaurice- 
Kelly,  op.  cit.,  p.  438;  Cejador,  op.  cit.,  p.  215ff. 

2126.  en  la  Academia  del  duque  de  Pastrana: 

1.  This  duque  de  Pastrana  (the  third  of  the  title) 
is  don  Ruy  Gomez  de  Silva  y  Mendoza  (1585-1626). 
Of  his  personal  appearance  Espinel  says  {Marcos  de 
Ohregon,  parte  II,  descanso  xi)  :  "Acuerdome  de  ver 
salir  a  un  Duque  de  Pastrana  una  mailana  como  esta, 
a  caballo,  con  un  semblante  mas  de  angel  que  de  hombre, 


314  NOTES 

clcviido  ell  la  silla,  (|uc  parccia  ct'iitauro,  liac-ii'iulo  mil 
gallardias,  y  eiianiorando  a  cuantas  personas  le  mira- 
ban."  He  is  i)raised  by  Cervantes  in  his  Viaje  del 
Parnaso.  eap.  viii,  near  the  end.  but  tlie  tribute  is  of 
tluit  pei-funetoi-y  kind  paid  to  a  ^NFaeeenas  by  a  poor 
poet : 

"y  que  la  fania,  en  la  verdad  ufaua, 
eontaba  que  agrado  con  su  preseneia 
y  eon  su  eortesia  sobre  humana  ; 
que  fue  nuevo  Alejandro  en  la  excelencia 
del  dar;  que  satisfizo  a  todo  euanto 
puede  mostrar  real  magniticencia." 

But  this  tells  us  nothing  of  the  Duke  as  a  literary  light, 
although  we  are  led  to  believe  by  the  mere  fact  that 
Cervantes  praises  him,  that  he  could  appreciate  the 
gifts  and  writings  of  others.  He  was  Ambassador  in 
Paris  and  Eome  under  Philip  III,  and  Philip  lY;  his 
contemporaries  also  state  that  he  was  especially  fond 
of  the  sports,  and  excited  admiration  as  a  torero. 

2.  The  academy  mentioned  by  Lope  was  doubtless 
the  Academia  Selvage,  first  called  El  Parnaso.  opened 
in  February,  1612,  in  the  house  of  D.  Francisco  de  Silva, 
a  brother  of  the  Duke  of  Pastrana,  the  latter  being 
presumably  its  most  illustrious  patron.  According  to  the 
Licenciate  Pedro  Soto  de  Rojas  {Desengano  de  Amor. 
Madrid,  1623,  f.  181)  :  ' '  assistieron  en  esta  academia^los 
mayores  ingenios  de  Espafia,  que  al  presente  estaban  en 
Madrid."  We  may  assume  that  among  them  were  Lope, 
Velez  de  Guevara,  and  perhaps  Espinel  and  Cervantes. 
Cf.  La  Barrera :  Nnera  hiografia  de  Lope  de  Vega, 
pp.  183  and  571. 

3.  On  these  academies,  which  were  patterned  after 
Italian  prototypes  (on  which  see  Sandys,  A  History  of 
Classical  Scholarship,  II,  p.  81)  Suarez  Figueroa  says 
in  his  Plaza  universal   (Madrid,  1615),  f.   63:     "En 


LA  DAMA  BOBA  315 

esta  conformidad  descubrieron  los  ados  pasados  algiinos 
ingenios  de  Madrid  semejantes  iinpulsos,  juntandose 
con  este  intento  en  algunas  casas  de  Senores,  mas  no 
consiguieron  el  fin.  Fue  la  causa  quiza  porque,  oluida- 
dos  de  lo  principal,  frecuentaban  solaraente  los  versos 
aplicados  a  diferentes  asuntos.  Nacieron  de  las  censuras, 
fiscalias  y  emulaciones  no  pocas  voces  y  diferencias,  pa- 
sando  tan  adelante  las  presunciones,  arrogancias  y  arro- 
jamientos,  que  por  instantes  no  solo  ocasionaron  menos- 
precios  y  demasias,  sino  tambien  peligrosos  enojos  y  pen- 
dencias,  siendo  causa  de  que  cesasen  tales  juntas  con  toda 
breuedad."  (Discurso  XIV,  de  los  Academicos).  Lope 
himself  presented  his  Arie  Nuevo  de  liacer  Comedias 
to  one  of  these  numerous  academies,  and  mentions  an 
"Academia  de  Madrid"  in  his  dedication  of  the  Laurel 
de  Apolo.  Cf .  also  La  Barrera :  Nueva  hiografia,  op. 
cit.,  pp.  151,  176;  Luis  Fernandez-Guerra  y  Orbe:  D. 
Juan  Ruiz  de  Alarcon  y  Mendoza  (Madrid,  1871),  p. 
529  (a  list  of  academies)  ;  Navarrete,  Vida  de  Cervantes, 
pp.  123  and  482ff. ;  Schack,  Geschichie  der  dramatischen 
Literatur  und  Kunst  in  Spanien  (Frankfurt,  1854),  II, 
p.  39ff. ;  a  note  on  D.  Juan  de  Silva,  in  II,  p.  30-4  of  the 
Galatea,  op.  cit. 

2127.  Odras  de  Luque:  Judging  from  Nise's  literary  taste,  espe- 
ciall}^  her  fondness  for  the  poetry  of  the  conceptistas, 
it  is  possible  that  this  Luque  mentioned  by  her  father 
is  Juan  de  Luque,  "natural  y  abogado  de  la  ciudad  de 
Jaen,"  whose  Diviua  Poesia  y  varios  conceptos  a  las 
fiestas  principales  del  ano,  que  se  ponen  por  su  calen- 
dario  con  los  Santos  nueuos  y  todo  genero  de  poesias, 
was  printed  at  Lisbon  in  1608.  He  says  in  his  prologue : 
"uso  de  toda  suerte  de  poesias  de  las  que  hoy  corren  en 
nuestra  Espaiia,  y  aun  algunas  que  no  las  he  visto  en 
ningun  autor,  como  son  un  soneto  en  laberinto.  en  cuyas 
primeras,  medias  y  ultimas  letras  hay  sentencias  leyen- 


316  NOTES 

dolas  hacia  bajo,  y  redoiidillas  diiplicadas;  que  me  ha 
parecido  compostura  miiy  acomodada  para  concept os 
de  larga  disposicion ;  y  un  soneto  en  siete  lenguas, 
que  no  me  costo  poco  trabajo."  And  again:  "Ansi 
que  podra  servir  esta  obra  de  Arte  Poetica,  pues  el  que 
quisiere  hacer  soneto  con  remate  tereiado,  en  repeticion, 
o  de  otra  suerte  de  las  que  se  practiean ;  o  caneion,  o 
otro  cualquier  genero  de  poesia,  aqui  la  hallara,  bus- 
candola  por  la  tabla." 

Another  Luque  is  Gonzalo  Gomez  de  Luque,  whose 
absurd  rhymed  tale  of  chivalry  Lihro  primcro  de  los 
famosos  hcchos  del  principe  Celidon  de  Iberia  (Alcala, 
1583),  may  also  have  appealed  to  the  taste  of  a  romantic 
girl  like  Nise.  Cf.  note,  II,  p.  335  of  La  Galatea,  op.  cit. 
Lope  had  to  use  the  name  for  the  sake  of  the  rime,  hence 
the  uncertain  identity. 

2128.  cartas  de  don  Juan  de  Arguijo:    (1564?-1623)  ;  among 

the  poetic  forms  used  by  Arguijo  are  epistolas  which 
may  be  tlie  cartas  to  which  Lope  refers.  Cf.  Fitzmaurice- 
Kelly,  op.  cit..  p.  374,  and  Cejador,  op.  cit.,  p.  141ff. 

2129.  cicn  sonetos  de  Linan:  Pedro  de  Lilian  de  Kiaza  (d.  1607). 

Cf .  la  Galatea,  op.  cit.,  II,  p.  319 ;  Cejador,  op.  cit.,  Ill, 
p.  136ff.  In  as  much  as  Octavio  tells  us  that  Nise's 
library  contained  "librillos,  papeles  y  escntos  rarios," 
we  may  infer  that  such  poetry  as  had  not  been  printed 
at  the  date  of  our  play,  1613,  was  possessed  by  her 
(or  Lope)  in  manuscript.  This  was  a  very  common 
state  of  affairs  at  this  time,  when  many  works  were 
known  only  through  manuscript  copies.  We  have  no 
reason  for  doubting  that  Lope  possessed  many  of  them 
in  his  library.  This  would  apply  to  Ochoa,  Luis  Yelez, 
Arguijo,  Lilian  and  possibly  Castro,  of  the  above  men- 
tioned list. 


LA  DAMA  BOBA  317 

2U0.  Hen- era  rl  diuino:  ( 1534 ?-l 597 )  ;  cf.  Adolphe  Coster: 
Fcrnandu  de  Ilerrcra  (el  Divino),  (Paris,  1908)  ;  and, 
ibid.,  Algunas  ohras  de  Fernando  de  Herrera  (Paris, 
1908);  La  Galatea,  op.  cit.,  II,  p.  327;  Fitzraaurice- 
Kelly,  oj).  cit.,  pp.  175  and  400;  Cejador,  op.  cit..  Ill, 
p.  89ff. 

2131.  el  libro  del  Peregrino:   Lope's  el  Peregrino  en  su  Patria, 

first  printed  at  Sevilla,  1604  (cf.  Gallardo,  IV,  no. 
4212).  It  is  an  artificial  story  of  adventure,  pedantic, 
and  marred  by  digressions  and  bad  taste.  Moreover, 
Lope's  prose  style  is  inclined  to  be  mediocre,  dull  and 
culto. 

2132.  el  Picaro  de  Aleman:    The  well  knov^n  rogue  story  by 

Mateo  Aleman  (1547-?),  Guzman  de  Alfarache,  was 
printed  in  two  parts,  the  first  at  Madrid,  1599,  the 
second  at  Lisbon,  1604.  Cf.  Fitzmaurice-Kelly,  op.  cit., 
pp.  230  and  370 ;  Cejador,  op.  cit.,  IV,  p.  130ff. 

2167.  sala:  "salas  se  llaman  vnas  piecas  grandes  de  Palacio,  en 
lo  baxo  del,  donde  se  juntan  los  Consejeros  de  su  Mages- 
tad  a  despachar  los  negocios  de  justicia  y  gobierno. ' ' — 
Covarrubias. 

2177-8.  Cf.  the  beginning  of  act  III ;  eleccion  and  accidente  are 
without  the  usual  cedilla. 

2182.  estrellas  que  conqiertan  las  voluntades:  According  to  culto 
poetry  love  is  considered  a  disease,  and  the  influence  of 
the  stars  brings  on  ''el  accidente  de  una  enfermedad"; 
as  such,  "accidente"  is  frequently  found  in  contrast 
with  "eleccion,  o  albedrio." 

' '  No  digo  yo  que  fuerzan  las  estrellas ; 
que  inclinan  digo;  pero  tu  no  quieres 
por  tu  eleccion  ni  por  que  inclinan  ellas. 
Amor  I  que  se  ha  de  hacer  de  las  mujeres. 


318  NOTES 

(pic  ni  vivii-  com  cllas  iii  sin  cllas 
pucdcii  iiuestros  pesares  y  placeves?" 

— Lojie  :  Sonnt't  278  (Obras  no  dvamniicas 
in  Bibliotcca  <lc  autorcs  cspanolcs). 
"Pero  si  las  ostrellas  daiio  influyen, 
y  con  las  de  tiis  ojos  naci  y  muero, 
^como  las  vencore  sin  albedrio?" 

— Lope:    Sonnet  168. 

''.  .  .  En  tanto  que  este  apliqne 
remedios  a  sn  amor  o  a  su  accidente, 
Don  Arias,  y  su  vida  pronostique, 
por  otra  parte  quiero  yo  que  intente 
el  interes  curar  a  esta  seiiora 
de  la  dureza  que  en  el  pecho  siente. ' ' 

— Lope :  La  Nina  de  Plata,  II,  viii. 
"El  amor  que  le  he  cobrado  en  este  poeo  de  tiempo  que 
le  he  visto  es  de  suerte,  que  me  fuerza  a  que  atropelle 
con  todo,  y  habiendo  de  ser  yo  la  rogada,  venga  a 
rogarle:  fuerzas  son  de  estrellas  y  oculta  inclinacion; 
que  no  se  puede  alcanzar  la  causa  de  adonde  proeede 
tan  gran  mudanza  como  la  que  vengo  a  ver."'  — cl  Do- 
nado  haUador,  op.  cit.,  I,  cap.  5,  near  the  end.  Cf. 
also  Lope:  Al  Pasar  del  arroyo,  I,  ii;  Quien  ama  no 
haga  fieros,  I,  vii ;  la  Noche  de  San  Juan,  II,  f.  77v; 
cl  Caiallcro  de  Olmedo,  I,  iii. 

2215.  pensamicnios:  cf.  above,  verse  635.  '^ 

2220.  Todo  cs  mudamas  amor:  In  as  much  as  Oetavio  says 
"vaya  el  baile  del  otro  dia,"  Liseo's  phrase  contains  a 
pun  on  the  step  of  a  dance.  The  chief  interest  in  this 
dance  for  us,  lies  in  its  pronounced  popular  character. 
We  may  recall  that  in  Don  Quixote,  II,  xx,  Cupido 
[amor]  dances  a  mudanza,  on  which  occasion,  however, 
it  is  a  formal  dance,  as  is  also  the  case  in  Moreto's  el 
Desden   con   el   desden,   II.      The   double  meaning   of 


LA  DAM  A  BOB  A  319 

mudanzas  de  amor  and  mudanza,  the  step  of  a  dance,  is 
not  uncommon  in  the  romances.     See,  in  the  l)allad  be- 
ginning : 
"En  el  tiempo  ({ne  Celinda — cerro  airada  la  ventana  etc." 
the  verses : 

"Que  en  el  villano  de  Amor— es  muy  cierta  esta  mudanza, 
y  la  danzan  muchas  veces — los  que  de  veras  se  aman." 
And  in  the  ballad  beginning : 

Abindarraez  y  INIuza— y  el  Key  Chico  de  Granada  etc." 
the  verses : 

"Entre  tanto  el  rey  y  Muza — estaban  con  Zaida  y  Zara, 
cansados  de  tantas  vueltas,— que  son  de  amor  las  mudanzas." 
Compare  also  such  stereotyped  phrases  as,   "todo  es 
enredos    amor,"    "todo    es    enganos     (or    indnstrias) 
amor." 

2238.  cadcnas  y  vandas:  "era  un  hombre  de  hasta  euarenta 
anos,  algunas  canas,  agradable  presencia,  calvo,  de  me- 
diana  estatura,  calza  de  obra,  galas  al  uso,  2ina  vanda 
de  oro  al  cuello  de  las  que  se  comenzahan  a  usar  en- 
tonces."  Lilian  y  Verdugo :  Guia  etc.:  Novela  y  escar- 
miento  segundo.  The  vanda  was  an  effeminate  trait, 
and  generally  worn  by  lindos;  cf.  also  vs.  2247. 

2245.  tranzcUn  en  el  sombrero:  other  forms  are  trencillo.  trcn- 
ccllin : 

"no  hay  irencellin  de  diamantes 
que  se  acabe  en  otro  nombre, 
ni  tiene  la  corte  un  hombre 
cuyos  coletos  y  guantes 
espiren  olor  igual." 

— Lope:    el  Ausentc  en  cl  lugar,  I,  v. 
"La  cabeza  adornada 
de  un  sombrero,  la  falda  levantada, 
de  un  treneellin  cefiido." 

— La  Gatomaquia,  VII. 


320  NOTES 

2247.  ca<h  iiita  (h  ovo  al  cutUo:  no  young  gallant  was  satisfied 
to  go  without  a  cliain,  and  veiy  frequently,  if  he  could 
not  afford  one  of  gold,  he  wore  a  false  one  {de  alquimia). 

2249.  en  los  hrazos  rl  gnguicsco:  "los  griguiescos  so  llamaron 
asi  de  grex  gregis  y  la  lana  del  ganado,  si  no  es  que 
vinieron  de  Grecia ;  son  habito  descansado,  aunque  las 
ealzas  son  mejores  para  las  armas." — la  Doroiea,  lY, 
iii ;  of.  also  the  next  two  notes.  The  singular,  as  here, 
is  less  connuon  than  tlie  plural ;  cf.  Los  Comendadores 
de  Cordoba,  III ;  * 

— ''Para   la    segunda    vez 
tengo  un  griglieseo  valon, 
que  es  lo  bajo  de  im  capon. ' ' 
also  Covarrubias  under  cahon:    ''por  otro  nombre  cal- 
con  0  greguesco";  and  Cervantes:   el  GaUardo  Espanoh 
Schevill-Bonilla  ed.,  I,  p.  68,  vs.  16. 

I  assume  that  in  saying  that  Amor  wore  the  grigui- 
esco  on  his  arms,  Lope  is  ridiculing  the  width  and  full- 
ness of  the  sleeves  which  might  well  have  resembled  that 
garment.  In  verse  2303  we  are  again  told  that  Amor 
wore  la  manga  ancJia  (perhaps  with  the  double  meaning 
that  "Love  may  be  unscrupulous"),  and  el  calzon  an- 
gosto  which  latter  garment  was  close  fitting,  while  the 
gvegucscos  were  loose  breeches,  extending,  when  first 
introduced,  to  the  ankle,  later  from  the  hip  to  the  middle 
of  the  thigh.  The  latter  style  was  worn  especially  by 
soldiers,  pages,  etc.,  during  this  very  period,  the  first 
third  of  the  seventeenth  century. 

Lope's  ridicule  of  wide  sleeves  recalls  a  passage  in 
Quevedo,  Visita  de  los  chistes,  where  we  have  an  amus- 
ing description  of  the  costume  of  don  Diego  de  Noche 
who  had  found  a  pair  of  sleeves  big  enough  to  wear  as 
gregiicscos:  "Muy  angosto,  muy  a  teja  vana,  las  carnes 
de  venado,  en  un  cendal,  con  unas  mangas  por  gre- 
giicscos y  una  esclavina  por  capa  .  .  .  se  llego  a  mi 


LA  DAMA  BOliA  321 

un  rebozado  etc."  (Ohras,  op.  cit.,  I,  p.  345).  Cf. 
also,  Luna:  LuzarilJo  de  Tormcs,  II,  cap.  1:  "  [los 
vestidosl  iii  tenian  principio,  ni  fin :  entre  las  calzas 
y  sayo  no  habia  diferencia ;  puse  las  piernas  en  las 
mangas,  y  las  calzas  por  ropilla,  sin  olvidar  las  medias 
que  parecian  mangas  de  escribano. "  And  Tirso  de 
Molina,  in  his  Cigarrales  de  Toledo  (A^ictor  Said  Armesto 
ed.,  Madrid,  1913,  p.  101)  has  the  following  passage: 
"Causo  novedad  el  trage  de  los  nuevos  dogmaticantes, 
porque  las  coronas  de  la  ingrata  ninfa  no  ceiiian  sus 
sienes  como  se  acostumbrava,  sino  sus  cinturas.  Pudo 
ser  por  llamar  a  los  desta  facultad,  que  tan  mal  se  dan 
a  entender  por  palabras,  bachilleres  de  estomago.  Y 
aunque  curiosamente  vestidos,  havian  mudado  el  uso 
hasta  en  el  modo  de  su  adorno,  porque  traian  los 
baqueros  de  tela  abotonados  por  las  espaldas,  las  rosetas 
de  las  ligas  les  Servian  de  cuellos  y  puiios,  y  los  puilos 
y  cuellos  de  ligas,  las  mangas  de  gregtiescos  y  los  gre- 
giiescos  de  mangas,  a  imitacion  de  su  poema." 

2251.  las  ligas  con  rapazejos:  "vieron  que  venia  con  vnas  medias 
de  seda  encarnada,  con  ligas  de  tafetan  bianco,  y  ra- 
pacejos  de  oro  y  aljofar,  los  greguescos  eran  verdes,  de 
tela  de  oro." — Don  Quixote,  II,  cap.  49,  f.  186v. 

2253.  qapatos  al  uso  nueho:  (capatos  in  the  manusci"ipt) 
"Lleuaua  la  espada  sobre  el  ombro,  y  en  ella  puesto  vn 
bulto,  6  emboltorio,  al  parecer,  de  sus  vestidos,  que  al 
parecer  deuian  de  ser  los  caleones  o  greguescos,  y 
herreruelo,  y  a.lguna  camisa,  porque  traia  puesta  vna 
ropilla  de  terciopelo  eon  algunas  vislumbres  de  raso,  y 
la  camisa  de  fuera ;  las  medias  eran  de  seda,  y  los  ga- 
patos  quadrados  a  vso  de  Corte." — Don  Quixote,  II, 
cap.  24,  f.  93r.  According  to  some  writers,  the  origin 
of  this  custom  is  attributed  to  the  Duke  of  Lerma,  who 
suffered  much  from  bunions;  cf.  also  vs.  2301. 


322  NOTES 

2255.  sotauilla  a  lo  furqucsco:  It  is  difficult  to  describe  Spanish 
gcii-mcnts  pattei-ned  after  foreign  models.  In  this  par- 
ticular ease,  I  eau  only  mention  Turkish  or  Moorish 
apparel  which  resembled  a  short  cassock.  Diego  de 
Haedo,  in  his  Topographia  e  Historia  General  de  Argel 
(Valladolid,  1612)  says  of  the  men  of  Algiers:  "El 
vestir  de  todos  estos  es  primeramente  vna  camisa  y 
caraguelles  de  lienco,  y  quando  haze  frio,  vn  sayo  de 
pano  de  color  que  les  da  por  abaxo  de  la  rodilla,  como 
sotana  pequena,  a  que  Uaman  (joncla,  o  Goleila,  mas  en 
verano  no  la  traen;  y  en  su  lugar  ponen  muchos  otra 
camisa  de  lienco  delgada,  larga,  y  muy  ancha,  y  muy 
blanca,  a  que  ellos  llaman  Adorra"  (fol.  8,  col.  2). 
In  chapter  26  (Del  vestido  de  todos  los  turcos  de  Argel, 
etc.),  f.  20r.,  col.  1,  he  says:  "Encima  deste  jalaco 
traen  de  ordinario  vna  ropa  que  llaman  tafetan,  que  es 
a  manera  de  sotana  de  clerigo,  habierta  por  delante,  y 
con  botones  en  el  pecho,  la  qual  de  la  misma  manera 
tiene  las  mangas  cortas  hasta  los  codos,  y  es  larga  hasta 
media  pierna,  y  a  vezes  mas,  o  a  lo  menos  passa  siempre 
de  la  rodilla,  es  tambien  de  algun  color,  etc."  Again 
speaking  of  women:  "0  (lo  que  muchas  vsan)  traen 
sobre  la  camisa  de  tela  otra  de  seda,  de  cendal  o  tafe- 
tan muy  delgado,  de  algun  color,  que  les  Uega  hasta 
los  pies;  y  si  haze  gran  frio  traen  debaxo  vn  sayo  de 
pafio,  o  de  colchas,  como  traen  los  maridos,  a  que  llaman 
gonila,  y  otros  goleyla"  (fol.  27,  col.  2).  A  garment 
worn  by  the  Moors  in  Spain,  and  adopted  with  sligM 
modification  by  the  Christians  for  specific  occasions,  no- 
tably the  joust,  or  "para  lucir,"  was  the  marlota.  It 
was  a  kind  of  loosely  fitting  sayo,  or  man's  frock,  and 
Dozy  in  his  Dictionnaire  detaille  des  noms  des  vete- 
ments  chez  les  Arahes  (Amsterdam,  1845),  p.  412, 
speaks  of  it  at  length.  In  Spanish  literature  it  is  fre- 
quently mentioned  together  with  the  capellar,  a  short 
mantle  worn  hanging  from  the  shoulders.     Cf.  Dozy, 


LA  DAMA  BOBA  323 

op.  cit.,  p.  350.  Both  garments  may  be  found  in  a 
number  of  romances  moriscos,  and  were  much  worn 
in  Lope's  time.  In  the  latter 's  poem  la  Manana  de 
San  Juan  note  the  following  stanza  (30)  : 

"Su  padre,  invicto  de  su  edad,  un  dia, 
con  el  vestido  arabigo  de  Espaiia, 
que  nos  dejo  su  antigua  monarquia, 
marlota,  capellar,  adarga  y  cana, 
el  eefiro  del  alba  desatia 
en  el  jinete  que  de  sangre  baila, 
en  tal  aurora,  que  por  justas  leyes 
obliga  tal  mahana  a  tales  reyes." 

Tliat  the  marlota  was  also  a  street  garment  may  be  seen 
from  the  following  passages  found  in  the  romances 
moriscos: 

Y  que  en  vez  de  echarte  al  hombro — la  malla  y  turques  alfange, 
te  eches  bordadas  marlotas, — v  vavas  a  ruar  calles. " 


Sale  galan,  aunque  triste, — para  mostrar  por  sus  galas 
que  parte  rico  y  contento, — pues  de  ello  gusta  su  dama. 

Con  muchos  racimos  de  oro — una  marlota  encarnada, 
acuchillada  a  reveses, — y  en  tela  verde  aforrada,  etc." 


Lope  may  have  implied  that  the  sotanilla  a  lo  turquesco 
was  different  from  the  usual  sotanilla  in  that  it  was 
embroidered  and  colored,  finer  than  the  gonela  or  goleila 
and  possibly  more  like  the  marlota.  It  is  all  a  matter  of 
unsatisfactory  guessing.  On  Moorish  garments  see  also 
the  edition  of  Gines  Perez  de  Hita's  Guerras  civiles  dc 
Granada.    Primera    Parte    (Madrid     1913),    by    Paula 


324  NOTES 

lilanchard-Demonge,  pp.  Tiff.  Many  costumes  of  the 
Spanish  people  in  Lope's  day  were  patterned  after 
foreign  models,  and  as  evidence  of  this  vogue  tlic  follow- 
ing passage  may  be  cited:  ''Nuestra  Espafia  de  cada 
dia  usa  nuevos  trajes,  no  bastando  pragmaticas  y  pro- 
visiones  para  remediar  tan  nnmerables  gustos,  sacando 
cada  uno  nueva  traza,  nuevo  modo  de  vistir,  no  mas  de 
como  le  paso  por  la  cabeza,  imitandole  todos  corao  a 
verdadero  restaurador  de  las  galas,  y  de  mayor  curio- 
sidad,  ya  perdida  en  el  mundo.  Usa  el  italiano,  el 
frances,  el  flamenco,  el  ingles,  el  turco,  el  indio,  desde 
que  tuvo  principio  su  nacion,  de  una  misma  forma  de 
vestido,  sin  haber  mudado  el  uno  ni  el  otro  el  turbante, 
y  solo  el  espaiiol  es  variable,  no  habiendo  camaleon 
que  asi  mude  de  colores  como  el  de  trajes  y  diversas 
hechuras." — d  Donado  Jtahlador,  op.  cii..  II,  cap.  6. 

2261.  Corto  cuello  y  punos  largos:  a  narrow  or  simple  collar 
without  the  usual  ruffs  {lechuguillas) .  The  small  col- 
lar was  more  characteristic  of  the  beginning  of  the 
reign  of  Philip  II;  about  1562  the  elaborate  collars 
known  as  marquesotas  became  popular;  according  to 
Rodrigo  INIendez  de  Silva,  Catalogo  real  gcncalogico 
dc  Espaiia  (Madrid,  1636),  this  monstrosity  was  intro- 
duced into  Spain  by  an  Italian  marquis  who  suffered 
from  scrofula  and  concealed  his  disease  by  means  of  the 
marquesota.  Alarcon  tells  a  similar  tale  about  a  young 
gallant.  La  Verdad  sospechosa,  I,  iii,  an  interesting 
scene,  in  which  the  author  makes  an  amusing  plea  for 
the  valoncilla  angosta.  In  1623  an  effort  was  made  to 
introduce  a  valona  liana,  without  ornamentation  or 
color,  but  the  result  was  only  the  introduction  of  a  new 
vogue,  the  golilla. 

The  punos  largos  were  also  worn  by  fops  and 
dandies.  "Todas  mis  ansias  consistian  acerca  de  mi 
ornato  y  atauio :  no  desflorado  el  capato,  al  vso  pecho 


LA  DAMA  BOBA  325 

y  cabello,  grandes  puiios,  cuello  con  muchos  anchos  y 
azul,  pomposas  ligas,  medias  sin  genero  de  flaqueza."' — 
el  Passagero,  Aliuio  II,  p.  71.  In  Lope  the  young 
gallants  frequently  wear  punos  a  lo  veneciano:  cf. 
la  Viuda  valenciana,  1,  iv. 

2265.  guante  de  anhar  adohado:  "fue  un  gentil  hoinbre,  bien 
aderezado  al  uso  de  ahora,  cuello  azulado  y  abierto, 
calza  entera  de  obra,  sombrero  con  plumas,  espada 
dorada,  ferreruelo  aforrado  en  felpa,  guante  de  amhar, 
y  al  cuello  una  vuelta  de  cadena  de  oro  de  moderado 
peso." — el  Donado  hablador,  op.  cit.,  I,  cap.  4.  Com- 
pare also : 

"Fenisa.      Estos  son  guantes:    bien  puedes 
tomar  estos  cuatro  pares. 

Lucindo.  ^Son  de  ambar? 

Fenisa.  Si.     No  repares." 

— Lope:  el  Anzuelo  de  Fenisa,  I,  x. 
For  an  anecdote,  turning  on  guantes  muy  olorosos,  cf. 
Timoneda,  el  Buen  Aviso,  op.  cit.,  cuento  liv;  also  the 
quotation,  verse  2245;  Seilor  Bonilla's  delightful  little 
volume,  De  Critica  cervantina  (Madrid,  1917),  p.  lOlfif., 
tells  us  of  the  perfuming  of  gloves  at  length. 

2267.  gran  jugador  del  voeahlo:  "jugar  del  vocablo:  usar  del 
con  gracia,  en  diversos  sentidos :  que  freqiientemente 
es  decir  equivocos." — Die.  de  aut.  For  one  of  these 
' '  puns ' '  cf .  Lope : 

"Flora.  Ana  se  llama. 

Conde.       A  nadie  perdona  agora. 
Marcelo.    Jugo  el  Conde,  mi  seiior, 

del  vocablo.    ;  Triste  caso ! ' ' 

— Quicn  ama  no  haga  fieros,  1,  x. 
"Los    pobres   hacen   retablo 
de  sus  duelos  y  pesar; 
no  hay  dinero  que  jugar, 
y  juegase  del  vocablo." 

— los  Comendadores  de  Cordoba,  III. 


326  NOTES 

2275.  chopcton  castdhnio:  llic  name  given  to  a  Spaniard  re- 
turning from  the  Indies,  and,  generally,  in  poverty; 
llic  epithet  was  used  in  Mexico  according  to  the  Die.  de 
a  lit.,  and  was  equivalent  to  our  "greenhorn."  Cf. 
Lope;  (Tristan  chides  his  master  for  being  so  easily 
duped) : 

"jQue  ehapeton  estas  en  estas  Indias!" 

— d  Anzudo  de  Fenisa,  II,  viii. 
In  the  Passagero,  op.  cit.,  p.  268,  the  word  has  the 
meaning  of  pdoii,  "a  bald-headed  man,"  presumably 
because  ehapeton  means  one  who  has  been  fleeced  in 
the  Indies.  Cf.  also  el  Diablo  cojiido,  op.  dt.,  p.  138, 
and  la  Doroica,  op.  dt.,  II,  iv. 

2293.  iDcxa  las  auellanicas,  moro! 

— que  yo  me  las  vareare — ;  The  same  refrain  may  be  found 
in  a  cantar  in  el  Villano  en  su  Rincon,  III,  ii.  It  is 
much  more  appropriately  used  there  as  the  scene  takes 
place  in  an  olive  grove,  and  the  merry-making  is  com- 
bined with  the  task  of  gathering  the  olives.  Moreover, 
the  refrain  manifestly  is  a  part  of  the  romance  there 
sung,  which  cannot  be  said  of  the  cantar  in  la  Dama 
boha.  The  surmise  is  justified  that  having  met  with 
great  applause  in  el  Villano  en  su  Rincon  (written  be- 
ween  1604  and  1618,  presumably  about  1612),  the  dance 
with  its  refrain  was  reintroduced  in  la  Dama  boha. 

2295.  d  Amor  se  ha  buelto  godo:  "para  encarecer  la  presuncion 
de  algun  vano,  le  preguntamos,  si  deciende  de  la  casta 
de  los  godos." — Covarrubias.  "Quise  hacerme  de  los 
godos,  emparentandome  con  la  nobleza  de  aquella 
ciudad." — Guzman  de  Alfarache,  la  parte,  libro  3°, 
cap.  1 ;  cf.  also,  2a  parte,  libro  3°,  cap.  5;  Luna:  Laza- 
rillo  de  Tormes,  cap.  3 ;  Lope:  el  Anzudo  de  Fenisa,  II, 
xvii ;  ' '  No  dira  uno :  soy  virtuoso  o  soy  bueno  ;  sino : 
soy  de  los  godos,  o  soy  de  tal  o  de  tal  linaje,  descen- 


LA  DAM  A  BOB  A  327 

diendo  de  tal  casta  o  de  tal  parentc4a."— Torquemada: 
Colloquios  satiricos   {tercera  parte  del  colloquio  de  la 

hour  a). 

2299.  Uga  de  oro:  cf.  above,  verse  2251;  on  the  liga  D.  Juan 
Sempere  y  Guarinos,  Hist  aria  del  luxo  y  de  las  leyes 
suntuarias  de  Espana  (Madrid,  1788),  II,  p.  56,  has  an 
interesting  statement:  "Las  medias  eran  de  earisea, 
estamena,  pano,  ligadas  eon  atapiernas,  o  senogiles,  que 
por  los  Italianos  digeron  ligagambas,  y  hoy  ligas." 

2301.  sonhrero  y  qapato  romo:  "si  bien  ya  se  usan  [sombreros] 
altos,  ya  bajos,  ya  voleados,  ya  romos,  todos  vienen  a 
tener  las  alas  redondas  y  sin  esquinas.  "—Fernandez 
de  Avellaneda:  Don  Quixote,  cap.  25.  On  the  chang- 
ing vogue  in  shoes  we  find  in  el  Donado  hahlador,  II, 
cap.  6 :  "  aun  con  tener  yo  mas  de  cincuenta  anos,  poco 
mas  0  menos,  tengo  experiencia  de  la  diversidad  de 
zapatos  que  se  han  usado,  tan  diferentes  en  su  hechura, 
porque  unos  vi  redondos,  otros  puntiagudos,  de  una 
suela,  de  dos,  y  de  tres,  y  de  cuatro;  otros  romos,  eon 
orejas  y  sin  ellas,  largos  de  pala  y  corta;  y  si  en  el 
calzado  es  esto,  ^que  sera  en  lo  demas?"  Cf.  also  verse 
2253. 

2309.  matamoros:  "a  boaster,  blusterer";  one  of  many  similar 
compounds :  matasicte,— Luna :  Lazarillo,  cap.  1 ;  ma- 
tacandiles,  ibid.,  cap.  8;  matamoscas  (mata-siete-de-un- 
trompon)  in  Bihlioteca  de  las  tradiciones  populares 
cspanolas  I,  p.  121,  cited  R.  Koehler,  Kleinere  Schriften, 
I,  p.  564. 

2313  and  2315.  ''/Amor  loco,  y  amor  loco! 

jYo  por  vos,  y  vos  por  otro!"  These  two  verses 
are  sung  in  Moreto's  play,  Yo  por  vos,  y  v<>s  por  oiro, 
I,  iv  and  v. 


328  NOTES 

232;5.  (h  Duardo  co)i  Finca:  Lope  means  Nise:  in  the  heat  of 
writing  he  occasionally  confuses  the  names  of  his  char- 
acters. Thus,  in  the  last  act  of  la  Nina  dc  Plata,  the 
names  of  Dorotea  and  Teodora  are  exchanged,  which 
creates  confusion  for  the  reader. 

2345.  quf  nunca  sc  caso  hien 

quicn  se  casso  por  vengarse:    Compare: 

"que  nunca  por  la  venganza 
son  buenos  los  casamientos. " 
— Lope:   Quien  ama  no  haga  ficros,  III,  i. 

2394.  Pues  adios:  given  to  Laurencio  in  the  manuscript. 

2409.  auisarc  in  the  manuscript. 

2440.  vna  muger  cordera 

cs  tusson  de  su  marido:  a  good  example  of  conceptismo, 
and  characteristic  of  the  language  of  Laurencio.  The 
reference  is  both  to  the  Golden  Fleece,  and  to  the  Order 
del  Tuson;  the  idea,  that  a  meek  woman  is  an  honor  and 
ornament  (like  the  Order  of  the  Golden  Fleece)  is  com- 
mon in  Lope 's  time. 

2449.  cl  (strado:  cf.  verse  907. 

2454.  no  rs  sancto  como  el  silenzio:  reference  to  the  proverb  "al 
buen  callar  llaman  sancto  o  Sancho";  cf.  Correas, 
Vocahulario,  p.  35  for  a  long  article  on  the  saying. 

2526.  dueno:  dueno  in  the  manuscript. 

2536.  Oliheros:  hero  of  an  old  romance  of  chivalry:  la  Historia 
de  los  nohles  caualleros,  Oliueros  de  Castilla  y  Artus 
dalgarhe  (Burgos,  1499)  ;  reprinted  by  Professor  Boni- 
11a  in  vol.  XI  of  the  Nueva  BihJioteca  de  Autores  espa- 
noles.    Cf.  Fitzmaurice-Kelly,  rjp.  cit.,  p.  416. 


LA  DAM  A  BOB  A  329 

2557.  que  la  mayor  (Jiscrczion 
es  acomodarse  al  tiempo. 

— Eso  dixo  el  mayor  sahio:  According  to  the  Diccionario 
de  Autoridades,  the  phrase  "acomodarse  al  tiempo  mas 
es  prudenzia  que  baxeza"  is  found  in  Diego  GTracian's 
translation  of  Plutarch's  Moralia,  and  the  reference  is 
presumably  to  the  following  volume:  Morales  de  Phi- 
iarcho,  traduzidos  de  lengua  Griega  en  Castellana. 
Por  el  Secretario  Diego  Gracian,  criado  de  su  Magestad. 
Va  de  nueuo  anadida  la  quarta  parte,  que  nunca  ha 
sido  impressa.  Los  titulos  que  en  estos  Morales  se  con- 
tienen  se  veran  en  la  plana  siguiente.  (Real  escudo.) 
Con  Priuilegio.  En  Salamanca.  En  Casa  de  Alexan- 
dro  de  Canoua.  Ailo  MDXXI.  I  have  before  me  an 
edition  of  1548  with  only  three  parts,  in  which  I  have 
not  found  the  passage  quoted. 

2572.  duena:  Finea  thinks  that  Liseo  has  called  her  a  duenna. 
How  unpopular  these  characters  were,  how  questionable 
the  reputation  which  they  bore,  is  made  evident  by 
many  writers  of  Lope's  time,  especially  Quevedo  (cf. 
la  Visita  de  los  Chistes  in  Obras,  op.  cit.,  I,  p.  344)  and 
Cervantes;  (cf.  a  passage  in  the  latter 's  el  Celoso 
estremefio:  "0  dueiias,  nacidas  y  usadas  en  el  mundo 
para  perdicion  de  mil  recatadas  y  buenas  inten- 
ciones  .  .  ."). 

2575.  iQue  es  alma?    The  holos  in  los  Locos  de  Valencia,  III,  ii, 
carry  on  the  same  kind  of  conversation : — 
^'Verino.      ^Tu  sabes  lo  que  es  alma" 
Floriano.  Se  que  es  alma 

acto  primero  y  perfeccion  del  cuerpo." 
Aristotle,  through  the  interpretation  of  medieval  and 
Renascence  theologians  and  philosophers,  is  tlie  source 
of  these  phrases.     Cf.  Ohras  de  Aristoteles  puestas  en 
lengua  castellana  por  D.  Patricio  de  Azcarate,  Psico- 


330 


/'///■'(/  I,  'I  ra  I  (1(1  (I  (III  AliiKi.  lihro  II:  'I'lorUt  f/(  in  nil  if 
ihfiuicion  del  Alma:  "La  siistancia  cs  una  i-calidad 
perfeeta,  una  entc4equia  ;  luego  el  alma  cs  la  ciilt'lctiuia 
del  cuerpo,  tal  como  la  acabamos  dc  dcfinii/"  (p.  147). 
"Si  se  quiere  una  definicion  comun  a  todas  las  espeeies 
del  alma,  es  precise  decir  que  el  alma  es  la  entelequia 
primera  de  un  cuerpo  natural  organico."  (p.  148).  The 
Latin  renders  entelequia  by  actus  (the  acto  prhnero,  or 
the  gohicrno  of  Lope's  phrase),  the  word  means  "that 
by  which  the  soul  actually  is." 

2580.  (,No  es  alma  la  que  en  el  peso 

le  pintan  a  San  Miguel?  Lnmortal  spirits  released  by 
death  were  weighed  by  St.  Michael  in  a  balance,  and  it 
is  thus  that  the  Archangel  is  frequently  depicted  in 
church  paintings.  "In  those  devotional  pictures  Avhich 
exhibit  St.  Michael  as  lord  of  souls,  he  is  winged  and 
unarmed,  and  holds  the  balance.  In  each  scale  sits  a 
little  naked  figure,  representing  a  human  soul ;  one  of 
these  is  usually  represented  with  hands  joined  as  in 
thankfulness — he  is  the  healo,  the  elected;  the  other  is 
in  an  attitude  of  horror — he  is  the  rejected,  the  repro- 
bate ;  and  often,  but  not  necessarily,  the  idea  is  com- 
pleted by  the  introduction  of  a  demon,  who  is  grasping 
at  the  descending  scale,  either  with  his  talons,  or  Avith 
the  long  two-pronged  hook,  such  as  is  given  to  Pluto  in 
the  antique  sculpture.  »v 

Sometimes  St.  Michael  is  thus  represented  singly; 
sometimes  very  beautifully  in  Madonna  pictures,  as  in 
a  picture  by  Leonardo  da  Vinci  (1498),  where  St. 
Michael,  a  graceful  angelic  figure,  with  light,  flowing 
hair,  kneels  before  the  Madonna,  and  presents  the 
balance  to  the  Infant,  who  seems  to  welcome  the  pious 
little  soul  who  sits  in  the  uppermost  scale. 

I  have  seen  this  idea  varied.  St.  Michael  stands 
majestic  with  the  balance  poised  in  his  hands ;  instead 


LA  DAMA  BOBA  331 

of  a  liuinan  figure  in  either  scale,  there  are  weights; 
on  one  side  is  seen  a  company  of  five  or  six  little  naked 
shivering  souls,  as  if  waiting  for  their  doom ;  on  the 
other  several  demons,  one  of  whom  with  his  hook  is 
pulling  down  the  ascending  scale. ' '  —  Sacred  and 
Legendary  Art,  by  Mrs.  Jameson  (ed.  3,  Boston,  1857?), 
I,  p.  113.  The  origin  of  this  conception  is  found  in  such 
verses  of  the  Bible,  as  Daniel  V,  27 :  "  Thou  art 
weighed  in  the  balances,  and  art  found  wanting";  or 
in  Revelation,  VI,  5:  "And  I  beheld,  and,  lo,  a  black 
horse ;  and  he  that  sat  on  him  had  a  \m\v  of  balances 
in  his  hand. ' ' 

Finea  has  in  mind  a  painting  in  the  church  of  San 
Miguel,  built  during  the  reign  of  Philip  III,  and  de- 
stroyed by  fire  in  1790.  Cf.  Mesonero  Romanes:  el 
Antiguo  Madrid,  op.  cit.,  p.  71ff.  Lope  apparently 
refers  to  the  same  painting  in  los  Melindres  de  Belisa, 
I,  iv  :— 
"Lisarda.     Pues  no  nos  pongan  el  coche ; 

que  a  San  Miguel  a  pie  basta. 
Belisa.        Y,  pio  es  nada  el  de  los  pies, 

junto  al  peso  de  las  almas?" 

2602.  a  verse  of  nine  syllables. 

2603.  .  .  .  Soy  medrosa 

dc  las  almas,  porque  tcmo 
que  de  tres  que  andan  pintadas 

puede  ser  la  del  ynfierno:  Finea 's  silly  fears  I'einind  one 
of  the  melindres  of  Belisa,  in  the  play  of  the  same  name, 
I,  iv: 

"Tiene  [San  Jeronimo]  a  los  pies  un  leon, 
que  siempre  que  entro  me  espanta ; 
y  una  vez,  madre,  no  dudes 
que  ha  de  saltarme  a  la  cara." 


332  NOTES 

Finea  refers  to  the  pictorial  representation  of  the  here- 
after: the  soul  in  Paradise  {la  Gloria),  the  soul  iu 
Purgatory  {en  pcna)  and  the  soul  in  Hell  {la  del  in- 
ficrno). 

2607.  la  NocJie  dc  los  diffuntos:  Finea  is  afraid  of  ghosts.  Cf. 
el  Padre  Pedro  de  Ribadeneyra,  Flos  Sanctorum  (Bar- 
celona, 1790),  III,  p.  327:  La  Commemoracion  de  los 
dif untos ;  2  de  noviembre  ;  ' '  base  de  advertir,  que 
aunque  estas  apariciones  de  las  Almas  del  Purgatorio, 
que  aqui  havemos  referido,  y  otras  semejantes,  por  ser 
eseritas  de  Autores  graues  y  Santos,  se  deben  tener  por 
verdaderas,  y  que  nuestro  Senor  quiere  en  ellas  en- 
seiiarnos  las  horribles  penas  que  las  Almas  padecen,  .  .  . 
debemos  usar  de  gran  cautela  en  estas  cosas;  porque 
muchas  veces  no  son  verdaderas  las  apariciones  de  las 
Almas,  sino  de  nuestra  flaca  cabeza,  e  ilusiones  del  De- 
niouio,  que  nos  inquieta  y  engaila,  dandonos  a  entender 
que  vemos  lo  que  no  vemos. "  p.  329. 

2613.  iQue  te  dizef  On  various  occasions  printed  copies  of 
Lope's  plays  change  this  to  iqiie  te  parecef  As  in  this 
particular  case ;  and  again  in  verse  2868  it  is  changed 
t-o  ^que  me  dizes?  It  is  hard  to  believe  that  contem- 
porary printers  did  not  understand  the  question,  since 
it  is  not  uncommon  in  Lope.     Cf.   "^que  te  dice  el 

casamiento?" — al  Pasar  del  Arroyo,  II,  xiii. 

■•^ 
2679.  y  aqui  viene  Men  que  Pedro 

cs  tan  ruin  como  su  omo:  Correas.  Voeahnlario,  p.  411,  has: 
"Tan  bueno  es  Pedro  como  su  amo,  y  mejor  un  palmo. 
(Es  variable)." 

2704.  iTienes  cucnta  de  perdonf  "Cuenta  de  perdon:  es  una 
cuenta  a  modo  de  las  del  Rosario,  a  quien  se  dice  que  el 
Papa  tiene  concedida  alguna  indulgencia  en  favor  de 
las  Animas  del  Purgatorio." — Die.  de  ant. 


LA  DAMA  BOBA  333 

"En  pena  a  las  once  estoy. 
Tu  cuenta  el  perdon  me  aplique 
para  que  saiga  de  pena. ' ' 

— Lope:    Peribdnez  y  el  Comendador  dc 
Ocana,  III,  xiii. 
Finea  understands  that  Nise  "will  take  her  soul  out" 
of  purgatory.     Cf.  also  la  Esclava  dc  su  Gulun,  II,  xiii. 

2714.  almano  dcho  dc  scr:  an  unexpected  pan  from  tlic  hoha 
Finea. 

2768.  si  OS  faltan  tclas  y  rasos:  "you  may  give  your  sonnets  (as 
presents),  if  you  have  no  fine  cloth  and  satin."  That 
these  were  included  amongst  the  gifts  of  a  lover  can 
be  seen  from  Pcrihdnez  y  el  Comendador  dc  Ocana, 
I,  xv: 

"Si  serviera  una  dama,  hubiera  dado 
parte  a  mi  secretario  o  mayordomo, 
o  a  algunos  gentilhombres  de  mi  casa. 
Estos  hicieran  joyas,  y  buscaran 
cadenas  de  diamantes,  brincos,  perlas, 
tclas,  rasas,  damascos,  terciopelos, 
y  otras  cosas  extranas  y  exquisitas." 

2771.  Este  [i.e.  Garcilaso]  vendcn  por  dos  rcalcs, 
y  tiene  tantos  sonetos 
eligantes  y  discretes, 

que  vos  iw  los  Jiarcys  talcs:  In  his  novcla.  Las  Fortunas 
de  Diana  (printed  in  1626).  Lope  wrote:  "Pero  a  V. 
ni  /,que  va  ni  le  viene  en  que  hablen  eoino  quisieren 
de  Garcilaso?  Assi  dezia  vna  canzion  que  cantauan  vn 
dia  los  musicos  de  vn  senor  grande : 

Las  obras  de  Bosean  y  Garcilaso 

se  venden  por  dos  reales, 

y  no  las  hareys  tales, 

aunque  os  precieys  de  aquello  del  Parnaso." 


334  NOTES 

There  is  no  reason  to  doul)!  that  tlie  i>0('t  wliose  verse 
the  musicians  sang  was  Lope  himself,  and  that  he  had 
recalled  an  idea  already  expressed  elsewhert'. 

2825.  mitquir:  according  to  Juan  Hidalgo's  Vocahulario  de 
Gcrmania,  means  to  eat  {comer).  See  Quinones  de 
Benavente,  in  his  Loa  con  que  empezo  Tom/is  Fernandez 
en  la  corte  (first  ed.)  : 

"A  vuestros  gustos  ofrezco, 

Madrid,  este  nuevo  plato. 

Si  OS  sabe  bien,  le  tendreis 

siempre  a  punto  y  sazonado. 

Pero  si  no  es  de  sustancia 

para  podelle  muquir, 

ojos,  que  le  vieron  ir, 

no  le  veran  mas  en  Franeia." 

2829.   ijnposihle:    ijnposihles  in  the  manuscript. 

2892.  jBien  mi  tcrmino  agradcces!  "A  fine  way  you  have  of  ap- 
preciating my  position  (my  conduct)  !"  Termino:  "vale 
tambien  forma  o  modo  de  portarse,  ii  hablar  en  el  trato 
comun." — Dice,  de  aut.  Liseo  accuses  Otabio  of  not  liv- 
ing up  to  his  side  of  the  bargain  either.  Compare,  for 
this  use  of  termino: 

"Fuera  en  tanta  amistad  termino  injusto 
no  ser  don  Luis  como  le  aueis  pintado." 

— Lope:   la  Noche  de  San  Juan,  I,  f.  73r. '^ 

2976.  es  vn  cayman:  a  shrewd,  dangerous  rascal;  it  is  evident 
from  Covarrubias  that  the  caiman  or  alligator  had  a 
bad  reputation :  ' '  vn  pez  lagarto  que  se  cria  en  las  rias 
de  Indias,  y  se  come  los  hoynhres  que  van  nadando  por 
el  agua,  y  por  ser  el  nombre  de  aquella  lengua  barbara, 
no  me  han  sabido  dar  su  etimologia ;  deve  ser  a  modo  de 
los  cocodrilos,  que  se  crian  en  el  rio  Nilo."  The  Die.  de 
aut.  cites  as  an  example  of  the  definition  which  I  have 


LA  DAM  A  BOB  A  335 

given  la  Vida  dc  Estchanillo  Gonzalez:  "Dcxome  la 
tropa  de  caiinanes  tan  rematado  de  cuentas,  qne,  en 
llegandose  el  tiempo  de  la  enibarcacion,  hiive  menester 
vender  parte  de  mi  recaniara."  pi.  329. 

2981.  cl  que  viene  de  Muleyes:    Muley,  according  to  Pedro  de 

Alcala :  Vocahulario  E spa riol-Ardbigo  is  equivalent  to 
don.  Ochoa's  lexicon  defines  it  as  follows:  "Titulo 
que  precede  al  nombre  de  emperadores  y  principes  de 
Marruecos."  I  do  not  find  the  word  in  the  last  edition 
of  the  Academy's  Dictionary. 

2982.  ij  a  los  godos  se  levanta:   cf.  verse  2295  and  note. 

2984.  versos  legos  y  donaelos:   the  poetry  of  a  layman,  and  un- 
worthy of  the  ''profession." 

3056-7.  que  se  va  amor  por  la  post  a 

a  la  cassa  del  agravio:   "Love  is  easily  offended,"  but 
expressed  in  culto  language. 

3058-60.  .  .  .  las  lag ri mas  solas 

de  vn  homtre  han  sido  en  el  mundo 

veneno  para  nosotras:  How  women  are  to  be  won  by 
men's  tears  and  protestations  forms  a  prominent  fea- 
ture of  the  teachings  expressed  by  Ovid;  cf.  Ovid  and 
the  Renascence  in  Spai)i,  op.  cit.,  p.  91  et  cd. 

"Y  el  Petrarea   [dice],  entre  sus  raros 
versos,  que  no  hay  corazon 
de  tan  duro  bronce  o  marmol, 
que  no  se  ablande  o  se  mui'va, 
rogando,  llorando,  aniando; 
ya  puede,  Hipolita  bella, 
haber  el  tuyo  tocado." 

— Lope:   Las  Flores  d(  don  .fxan,  TI,  xx. 


336  NOTES 

V)()6^.  (Ens  p(ni(I(>r<j(i.'  Perliai)s  Tui'in  nu'ant  to  say  Pandora, 
thinking  of  her  as  an  objectionable  ereatnre,  for,  he 
says,  "no  estoy  bien  en  historias. ''  In  addition  to  the 
meaning  of  pf//(f/o/-(/fl  "discord,"  the  Die.  dc  aul.  also 
gives:  "En  estilo  festivo  y  familiar  se  llama  la  muger 
muy  gorda,  pessada,  dexada  y  floxa  en  sns  acciones." 
On  pandorga  cf.  el  Diahlo  cojudo.  op.  cit.,  pp.  12  and 
208. 

3133.  .  .  .  cl  Alcazar 

y  la  puente  de  Segohia, 

y  huho  Juanelos  que  a  el 

suhieron  agita  sin  sagas:  1.  The  Alcazar:  or  royal  palace 
of  Toledo,  now  a  military  academy,  was  built  chiefly 
in  the  fifteenth  and  sixteenth  centuries,  and  having  been 
partly  destroyed  by  fire  on  various  occasions,  has  under- 
gone extensive  restorations.  The  palace  stands  on  the 
highest  ground  above  Toledo,  and  is  an  imposing  sight 
.  when  viewed  from  the  valley  of  the  Tagus. 

2.  The  bridge  of  Segovia :  There  was  no  bridge  of 
this  name  across  the  Tagus  at  Toledo  as  far  as  I  am 
able  to  learn,  and  we  may  assume  that  Finea,  in  her 
foolish  chatter  is  confusing  Toledo  with  Segovia  whose 
puente  del  diahlo  is  one  of  the  great  aqueducts  of  the 
world.  It  is  known  throughout  Spain  as  the  puente  de 
Segovia,  and  as  a  "watercarrier"  was  associated  in 
Finea 's  mind  with  the  juanelos  of  Toledo.  The  structure 
is  a  work  of  Roman  times.  Cf .  Richard  Ford 's  excellent 
Handbook  for  Travellers  in  Spain  (London,  1845),  part 
2,  p.  825. 

3.  the  juanelos  ("artifieio  de  Juanelo")  :  a  compli- 
cated invention  to  raise  water  from  the  Tagus  river  to 
the  Zocodover,  the  public  square  of  Toledo ;  the  inventor 
was  a  mechanician  and  engineer  from  Cremona,  whose 
Italian  name  Giovanni  Turriano,  endures  in  its  Spanish 
form  Jnanelo.    He  is  known  not  only  for  the  above  in- 


LA  DAMA  BOBA  337 

ventioii,  completed  in  1568,  but  as  a  maker  of  elaborate 
clocks,  in  which  capacity  he  became  a  favorite  of 
Charles  V.  The  artificio  is  described  at  length  by 
Villalva,  in  el  Pcregrino  curioso,  op.  cit.,  I,  p.  194 ;  it  is 
mentioned  by  Quevedo  in  his  Yida  del  Buscon,  I,  cap.  8, 
by  Cervantes  in  la  ilustre  Fregona,  and  other  contem- 
porary writers.  Cf .  also  D.  Sisto  Ramon  Parro :  Toledo 
en  la  mauo,  2  tomos  (Toledo,  1857),  II,  p.  660ff. 

3145.  Uchaba:  instead  of  the  nsual  Ihhaua,  or  llcuaua. 

3171.  algun:  algucn  in  the  manuscript,  where  Lope's  haste  made 
him  anticipate  the  gue  of  guesso,  the  next  word. 

3174.  doiidc  a  las  que  nazen  lloran, 

y  ricn  a  las  que  mueren:  refers  to  the  Trausi,  whose 
customs  are  thus  described  by  Herodotus:  "Llevo  dicho 
de  antemano  que  modo  de  vivir  siguen  los  Getas  atani- 
zontes  (o  defensores  de  la  inmortalidad).  Los  Trausos, 
si  bien  imitan  en  todo  las  costumbres  de  los  demas 
Tracios,  practican  no  obstante  sus  usos  particulares  en 
el  nacimiento  y  en  la  muerte  de  los  suyos;  porque  al 
nacer  alguno,  puestos  todos  los  parierites  alrededor  del 
recien  nacido,  empiezan  a  dar  grandes  lamentos,  cou- 
tando  los  muchos  males  que  le  esperan  en  el  discurso  de 
la  vida,  y  siguiendo  una  por  una  las  desventuras  y  mise- 
rias  humanas;  pero  al  morir  uno  de  ellos,  con  muchas 
muestras  de  contento,  y  saltando  de  placer  y  alegria,  le 
dan  sepultura,  ponderando  las  miserias  de  que  acaba  de 
librarse,  y  los  bienes  de  que  empieza  a  verse  colmado 
en  la  bienaventuranza."  [Vivian  los  Trausos  al  pie  del 
Hemo,  en  la  Mesia  inferior. — Nota  del  Traductor.]  Cf. 
los  Nueve  lihros  de  la  historia  de  Herodoto  de  Hali- 
carnaso;  (traducida  del  griego  al  castellano  por  el  P. 
Bartolome  Pou,  1727-1802,  de  la  eompania  de  Jesiis), 
2  tomos   (Madrid,   VM))  ;   II,  libro  (piinto.    §  iv,   p.   7. 


338  NOTES 

Two  voliiines  (in  one)  of  this  work  were  printed  at 
^Madrid,  1846;  the  present  edition  is  taken  from  the 
manuscript  of  the  author.  There  were  Italian  transla- 
tions of  Herodotus  in  Lope's  day,  but  none  in  Spanish, 
as  far  as  I  know.  On  Herodotus  cf.  also  R.  W.  Macan, 
:\r.  A. :  Herodotus,  the  Fourth,  Fifth  and  Sixth  Books 
with  Introduction,  Notes,  Appendices,  Indices,  Map 
(London,  1895),  p.  155. 

3179-80.  This  close,  according  to  which  all  the  characters  are 
married,  is  given  a  humorous  turn  by  having  the  two 
men  who  are  left  without  mates  clasp  hands.  The  same 
device  is  not  uncommon  in  the  Spanish  comedia;  cf. 
the  end  of  la  Noche  toledama,  and  of  Santiago  el  Verde. 


INDEX 


a    (mechanical   omissiou   of),   2(51, 

276,  304. 
Academias,  300,   313. 
accideiite    (o  elecei(3n),  310. 
acomodarse  al  tiempo,  329. 
Actors  and  actresses,  251. 
agua   ardiente,   270. 
ajedrez  (piezas  de),  257. 
aladares,  299. 
alba,  263. 
Alemau,  317. 
alma,   329,   330. 
amor,  deseo  de  belleza,  282. 
amor  (loeiira,  etc.),  283,  293. 
anacardina,  304. 
andar  por  los  aires,  305. 
aprender    (preuder),   298. 
Arguijo  (Juan  de),  316. 
arrastra,  lo  que-  honra,  273. 
arriedro,  282. 
asilla,  298. 
astrologo,  295. 
banda,   319. 
basilisco,  259. 
boticario,  272. 

Bourgeois   Geutilhomme    (le),   263. 
celosia,  304. 
Cervantes,  312. 
Ciceron  (liijo  de),  292. 
conceptismo.  275,  276. 
cuadrado,  279. 
cuello,  324. 

cueuta  de  perdon,  332. 
cabezadas,  299. 
cadenas,  319,  320. 
ca.ia,  255,  289. 

callar  (al-  llanian  sancto),  328. 
calle  Mayor,  266. 
Camoes,  312. 
carnestolendas,  270. 
cascabel,   298. 
Castro    (Guillen  de),  312. 
catreda,  293,  310. 
chapeton,  326. 

damas  .  .  .  conio  hu  vidro,  256. 
dinerOj,  280. 
doce.  278. 
en  for  entre,  265. 
endiosarse     311. 
escuelas,  275. 
espiritus   visivos,   282. 


estrado   (sillas,  alniohadas),  287, 

328. 
estribos,  257. 
fea  ( Ventura  de  la),  301. 
fiambre  (tocino),  255. 
filo   (dar  un),  310. 
fortuna  (tormenta),  294. 
gansos   (correr),  274. 
Garcilaso,  311,  333. 
godo,  326. 

gregiiesco,  320,  321. 
guante   (oloroso),  325. 
guindas,    253. 
hablar  en,  289. 
Heliodoro,  262. 
Herrera,    317. 
ihola!  291. 
lllescas,    252. 
jalea,  257. 
jerigonza,  273,  288. 
ijo!  289. 
juanelos,  336^ 
jugar  del  voeablo,  325. 
Latino    (Juan),   305. 
leceion,   256. 

libertad  (no  se  vende),  292. 
librea  del  rey,  265. 
liga,   321,   327. 
Undo,  251,  300. 
Linan,  316. 

Luque  (obras  de),  315. 
matamoros,  327. 
matamoscas.    327. 
matasiete,  327. 
medidas  (de  imagenes),  254. 
mentiras,  253. 
menudo,  289. 
merienda,  257. 
mudanza,  318. 

mujeres   (estado  social  de),  260. 
Muley,  335. 
muquir,   324. 
naipe    (retrato),    284. 
negro,   287. 

Ochoa    (liras   de),   313. 
oficio,  271. 

Pajares   (santo  de),  299. 
pandorga,    336. 
Pastrana  (duque  de),  313. 
Pedro   (es  tan  ruin  conio  su  anio), 

332. 


[339] 


340 


IXDEX 


poiisainionto,  277. 

jicpitoria,  284. 

I'.'trari'a,   311. 

pias,  274. 

piearse.  302. 

pieza  (le  rev,  2(54. 

piiio    (a-),  272. 

jx'.rfi.lo,  299. 

postas,  2.34. 

I'ra.lo,  296. 

pnioba  (le  amigos,  29G. 

I)ii(lro,   2(i0. 

puesto   que,   298. 

jnintos   (dos-  en  el  aire),  2o7. 

pufio.   324. 

£  riiie  te  dice  .'  332. 

rapacejo,  321. 

Kcc-oletos   (los),  296. 

re.ijalos  (de  amante),  296. 

romadizo,  266. 

ruinrta,  301. 

sala,  317. 


servicio.  268. 

•sestil,  279. 

Sibila  eritrea,  274. 

sombrero  roiiio,  327, 

sotanilla,  322. 

Taso,  311. 

tennino,  334. 

tinieudo,  304. 

tranzelin,  319. 

Trausos   (costumbres  de  los),  337. 

trino,  279. 

tripular,  303. 

tropezar,   276. 

Vega  (Lope  de),  312,  317. 

Velez   (Luis),  313. 

voudaval,   294. 

Vidro,  299. 

Virgilio,  311. 

vistas,  258. 

zapatos  al  uso  nuevo,  321,  327. 

zas,  264. 


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